• 한국식생활문화학회지
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• 제33권6호
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• pp.489-500
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• 2018

Since the late 19 century, the Choseon dynasty forcibly opened the door to western countries, including Japan. In addition, cultural propagation called 'modernity' caused subtle changes in dietary life. Based on the theory of colonial dual society, this study examined the dietary modernity in Kyungsung (mid 1930s~early 1940s) when 50 years had passed since the Open-Door policy. Three films, (1934), (1936) and (1941) (those made in 1930s~1940s) were analyzed. Twenty six scenes [14 scenes from , five scenes from , and seven scenes from ] related to the dietary life from films were chosen and classified according three criteria (degree of modernization, main influential countries, and benefit groups from modernization). The degree of modernization of all films was more than 80%. The average proportion of the countries that affected modernization were western (35%), western-Japan (28%) and Japan (20%). Approximately 33, 53 and 14% of the upper, middle, lower classes, respectively, benefited from diet modernization. The main places where modernized dietary culture could be enjoyed were cafes, western restaurants, tea rooms, and hotels. The main food or beverages that were considered as modernized dietary culture were liquor (especially beer), coffee, and western meals. People in Kyungsung in the mid 1930s~early 1940s experienced modernity in dietary life differently according to the social classes and these culture changes were generally accepted as a symbol of modernity.

• 건축역사연구
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• 제32권6호
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• pp.49-62
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• 2023

This research aims to investigate Park Kilyong's architectural theory and critique of Gyeongseong (Seoul) buildings, expressed in his 'Overview of Modern Buildings in Gyeongseong' and 'Critique of Gyeongseong Buildings' (Samcheolli, Sept. and Oct. 1935); and 'Architectural Form of the 100% Function' and 'The Modern and Architecture (1)-(4)' (Dong-A Daily, 28 Jul. to 1 Aug. 1936). As a result, it is confirmed that Park had the functionalist theory of modern architecture, which suggests that Korean architects of the Japanese colonial period were accommodating the contemporary trend of world architecture. However, Park shows his fundamental limitations in the fact that the main content of his articles was a verbatim translation of two Japanese references (Kurata, 1927; Ishihara, 1929) without proper indications. Despite the limitations, his texts are still meaningful since he formed his own architectural theory on the basis of what he translated; and indeed his critique of Gyeongseong buildings, however simple, was based on the theory. This research makes a critical analysis of Park's functionalist theory from both the 1930s' and present points of view and compares his commentaries on Gyeongseong architecture with those by Ko Yu-seop (1932) and Hong Yunsick (1937), illustrating how Korea perceived architecture and modernism in 1930s.

• 한국가구학회지
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• 제28권3호
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• pp.135-144
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• 2017

The development of human civilization has been accompanied by a corresponding development of storage facilities. In particular, the storage of residential spaces not only performs the storage management function for personal property but also is considered an important prerequisite for a comfortable life. While examining the history of the transformation of built-in furniture, this study emphasizes the social and cultural implications of Korean residences. Therefore, We attempt to uncover the Korean characteristics that can be discovered in the transformation of storage furniture according to the changes that occurred in Korean residential forms following the modern era and to question the problematic issues of the built-in furniture in Korea.

• 한국언론정보학보
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• 제77권
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• pp.137-163
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• 2016

사진, 환등, 영화는 20세기 전반기의 경이롭고 마술적인 시각 기술, 1910년대 중반 상업적 가능성을 확인시킨 시기를 거쳐, 1920~1930년대 내내 문화적 패권을 향유한 유일한 미디어였다. 처음부터 근대적 오락으로 소비된 시각 미디어들에 대한 담론은 1920년대 초반까지 영화보다는 관객이 집합하는 공간인 극장 통제, 즉 군중 통제에 역점을 두고 구성되었다. 그러다 영화 자체가 현대적 문화와 미학의 표준이 된 1920년대 중반 이후 무성영화시대에는 당대의 지배적 학문 분야들인 심리학, 사회학, 대중 심리학의 개념과 이론을 적용하여 영화가 대중에게 미치는 강력한 도덕, 심리, 정신면의 부정적 영향을 강조하게 된다. 이데올로기 도구이자 동시에 근대 리얼리즘의 재현 매체로서 가능성을 지닌 시각 기술과 그것의 정점에 있는 영화의 영향을 부정적으로 규정해 간 것이다. 이 연구는 이러한 '식민적 미디어 영향 담론'이 처음부터 통치의 문제였으며 상업적 소비대중과 저항적 군중 통제를 위한 담론이었음을 주장하였다. 주목해야 할 사실은 이를 통해 일제의 식민지 통치성이 부단히 세계적, 보편적 사유와 지적흐름을 수용하면서 구성되어 갔지만 식민지 대중의 동의를 얻는 데는 실패한 담론이었다는 점이다.

• 한국가구학회지
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• 제13권1호
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• pp.49-59
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• 2002

The studio furniture movement that expanded in the United States after the Second World War was truly American creation representing highly sophisticated individualism versus industrial anonymity. The studio furniture movement can be traced back to the 1930s in terms of its influences and emergences. Based on the ideals of Arts and Crafts movements from the earlier decades, studio furniture movement emerged in the 1950s in reaction to Bauhaus inspired industrially produced furniture. Studio furniture has represented an alternative for people who wanted individual objects in their homes rather than industrially produced products. Opposed to plastics and industrial materials, artists in studio furniture mainly focused on one natural material, emphasizing its singular beauty. There were significant roles and influences of craft education along with Scandinavian influences in terms of spreading out the movement. A historical examination of furniture from the 1930s until the 1960s illustrates how this significant movement began in the mid-century.

• 복식
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• 제2권
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• pp.35-50
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• 1978

This paper is an observation on the woman's warming hoods such as Nambawi, Pungchae, Ahyam, Jnbawi and Gullae worn form 1800's through 1930's. At the late era of Chosun dynasty, The every day lifes of people were greatly influenced by invasion of western world, in particular the styles of clothing are changed from original one to Western-like. So the hoods of our own's were dissappcared gradually, and the interests of them were reduced accordingly by the western culture invaded. Therefore this paper is intended to participate in the study of clothing culture by considering of hoods, one of the almost disappeared clothes, and review the wisdom and sense of beauty of our ancestor by unique ornament. The warming hoods in this paper are from a category of ear-protection gear and also deformed from man's one. The ear-protection gear was a warming hood from Tae Jong, the king of the early era of Chosun, and usage classifications of them were strict according to the class division at the early and mid era of Chosun, but generally diminised at the late era, thery were used freely, but the differences in decorations represented the division of the rich and poor. General feature of it is open top, but covers all of head and is used for warming clothes, with has many decorations on it, this decorative tendency was more clear at the late era. Namely, the shape had been modified from tough one to modish one, and fur, the material of it, are from stiff and long to soft short and well refined. This warming hoods were used until 1930's then disappeared by the population of western mufflers and wraps. Jobawi is now already forgotten even its name except for the ornament in picturing the baby in first birth day. In revewing the consideration of warming hoods mentioned. It is found that the subtlety of the ancestor, and there are supplication for the happiness of life even in the decorations.

• 한국의류학회지
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• 제41권2호
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• pp.224-241
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• 2017

This study considered the change process for Western style shoes in Korea during the time of modernization in the 1920s to 1930s. Western style shoes were one of the items imported by foreigners since the Joseon Dynasty and had a significant impact on Korean dress code. It influence started to spread in the 1900s; however, few high level people wore Western shoes until the 1920s. The trend started to spread through newspaper advertisements and news articles after the mid 1920s. Western shoes such as modern girl and modern boy in the 1930s then entered into Korean culture. Korea under Japanese colonial rule was reorganized on a war footing in the latter half of the 1930s and the main materials for western shoes (cow leather, horse leather and sheepskin) were mobilized as materials for war production; subsequently, new materials using rubber were introduced. The representative material is 'Marine Leather (水産皮革)' and Sharkskin 'Gyoheok (鮫革)' and Whaleskin 'Gyeongpi (鯨皮).' Form is like the material has changed over time. This study also observed the flow of westernized Korean modern shoes as well as analyzed the details of materials and shape of western shoes by period. This represent basic materials to understand the legacy of western shoes in the age; in addition, systemic summary is organized by each kind, shape and materials for each style of western shoes.

• 한국콘텐츠학회논문지
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• 제5권6호
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• pp.193-208
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• 2005

본 논문은 일제식민지 시기에 출발한 초창기 한국영화비평에 관한 연구로, 조선영화비평의 전개와 양상과 의미 그리고 한국근대영화비평사의 한 축으로서의 영화운동론을 고찰하고 있다. 조선영화의 출발점이 라고 할 수 있는 '연쇄극(kino-drama)' 시대에는 문명의 유입과 근대의식의 흐름에 젖어 역시 계몽주의적 영화관이 팽배하였고, 그 이후 무성영화의 시대로 접어들면서 영화본질 자체에 대한 관심증대로 영화라는 형식과 예술성 추구로서의 비평적 기조가 형성되면서 리얼리티와 재현의 문제 등 비평의 기준과 논쟁점이 다양하게 제기되면서 비평이 변모, 발전되었다. 또한 1920년대 중반부터 30년대 중반까지 지속된 프롤레타리아 영화운동론, 일명 카프(KAPF)영화운동은 당시 영화이론과 평론계를 주도하면서 조선영화계 전반에 큰 영향을 주어 선구자적인 모습을 보였다. 이들이 주장한 영화관은 볼셰비키적 대중화론과 변증법적 유물사관에 의한 계급적 영화로, 이들이 보여준 비평은 외국영화에 대한 정보와 이론소개, 영화조직과 강령 그리고 상영과 실천에 대한 여러 가지 방안제시 등 일정한 기여와 평가를 받을 만하다고 하겠다.

• 복식
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• 제50권5호
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• pp.53-64
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• 2000

The purpose of this study was to investigate the historical changes of western men's underclothes in the first half of the 20C and analyze functions and features of men's underclothes. This study was to utilize many literatures in the analysis of historical changes of western men's underclothes. In the 1900's, the attached collar was giving place to the detachable, and the coloured shirt for day wear was becoming accepted. The correct wear fur various occasions was given. Double collar was the favourite for day wear. The dress-shirt protector worn over the dress-shirt front. Men preferred to vest and pants in one as a combined garment. In the 1910's, underclothes were permitting freer movement, but what was still more significant was the glowing inclination to reduce the layers which covered the body. The new conception of decency which was beginning to appear continued to characterize underclothing the symbols of social rank, expect for formal occasion, were declining. For day the white shirt was being displaced by the soft-fronted shirt. In the 1927-1930's, Underclothes were reduced in number, extent and thickness. Underclothing had lost two of its original function : it no longer preserved the warmth of the body, nor did it disguise its essential shape. Both sexes discarded the use of white underwear, In the 1930's, men saw an increasing preference for the coloured shirt. Combinations became increasingly popular and the singlet were displacing the under-vest in the 1930's. All undergarments were very commonly in natural colours. In the 1940's, for evening dress. shirt was plain linen front and square cuffs. Short trunks reached to mid-thigh, had a front waist yoke with three button fastening. Underclothes were pursued ease and activity.

• Korea-Australia Rheology Journal
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• 제14권2호
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• pp.87-90
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• 2002

The measurement of the storage and loss moduli (G' and G" respectively) of materials as functions of frequency is now commonplace and is of wide utility. Yet il is not easy to trace the history of such measurements. and so this article discusses the genesis of this important experimental technique. We find that the technique grew out of a parallel technique for dielectric measurements (ca. 1900) and was developed in the mid-1930s by Philippoff and others. Important breakthroughs due to digital circuitry have occurred only in the last 20 years or so.r so.