• International Journal of Costume and Fashion
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• v.7 no.1
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• pp.49-61
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• 2007

The subject of study concerns the color characteristics of clothing/accessories from �Chosun�a nd modern Korea. It particularly focuses on the colors of the �Jeogori? traditional jacket) which represents Korean traditional clothing. Color data were collected from 353 woman�s �Jegori�s from �Chosun�a nd modern Korea and divided into the predominant colors & sub colors, and analyzed with HV/C and PCCS. According to the analysis, the representative the predominant color of 'Chosun Jeogori' for woman is YR, Y and side one is R, YR. The p, dp, sf, ltg colors are frequently found and the freshness of most of them is medium or low which shows a calm-feeling. The p, and ltg tones are often found as a the predominant color and p, dp are also often found as a the side color. In the 'Chosun Jeogori' for woman, the predominant colors and the side colors spread in a similar frequency and most of them have medium or low freshness of the color that shows a calm-feeling. The side color is one of the R colors and it shows characteristics of traditional coloring such as �Jajoo Goreum? Among the �Jeogori�f or modern women, the R, YR, Y, and B colors are often used for the single-color �Jeogori? the Y, GY, N, G colors are for the colorful �Jeogori? The P, lt, and b tons of the color are often used for a single-color �Jeogori�a nd the p, lt, and W are for the colorful �Jeogori? For the colorful �Jeogori? the side color have a high freshness which shows that a strong image was used frequently as the dp, s, dk tons of the color were often used. According to an analysis of the coloring, the predominant color and the side color of �Chosun Jeogori�a re applied to create a harmony of analogy & contrast in one aspect of Moon & Spencer�s view. It is found that the predominant color and the side color are similar or contrasting in one view of the color harmony, except that the traditional the �Jeogori�i s colored by ideological and symbolic meanings. The predominant color and the side color of modern the �Jeogori�a re complementary colors which are applied to the indistinct relationship or contrasting harmony in one aspect of Moon & Spencer�s view of the color harmony. The characteristics of the color as above show that traditional the �Jeogori�r egards the side color as both the harmony of the colors in general and also of symbolic meaning, while modern the �Jeogori�f or woman has a tendency toward a cultural transition and is mixed with new colors focusing more on its the predominant color than on the general harmony and character of ideological & traditional coloring.

• Journal of Science Education
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• v.39 no.1
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• pp.15-27
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• 2015

This study investigated whether there was a difference of the change in perspective of the nature of science depending on subjects of the history of science, after designing for two kinds of topics of role play programs based on the history of science to be transformed into a modern perspective. Before the history of science-role plays, the degree of the modern perspective was statistically no difference between group I(the atomic model transition-role play) and group II(the Mendeleev's periodic table-role play). However after treatment of the history of science-role plays for the each group, the degree of group I was higher than the degree of group II in the modern perspective. The results of this study indicate that the degree of changes into modern perspective of the nature of science by performing a history of science-role play may be depend on the subject of the history of science combined with the role play, and suggest the possibility that may be more effective to change the nature of science into the modern perspective, in case of performing of role play based on the history of science that includes the scientific knowledge established by a number of scientists with time series.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.51-84
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• 2012

In Korea, historical plays took an epoch-making turn from the previous historical plays in terms of approaches to topic and material and methods of rewriting history in the 1990s. Historical plays became dehistoricized with individual, everyday life, and faction emerging as major codes of historical plays according to mistrust in history and grand narrative as the original and disappearance of trust in the growth and totality of history. A new trend became dominant of presenting fictionality prominent instead of reproduction of history and freely playing with history outside the context. While modern historical plays were subject to the content of history, post-modern historical plays sought after new history writing to tell a new story on history within a framework of fiction. Focusing on some of the trends in post-modern historical plays since the 1990s, which include play with history, daily life-style history writing, and reproduction patterns of colonial modernity, this study examined the goals, representations, and text strategies of new history writing in three historical plays, Generation After Generation(2000) by Park Geunhyung, The Mercenaries(2000) by Park Sujin, and Chosun Detective Hong Yunshik(2007) by Sung Giwoong. In Generation After Generation, the author adopts a plot of starting with the present and tracing back to the past, breaking down the myth of racially homogeneous nation. At the same time, he discloses that the colonial history is not just by the oppressive force of Japan but also by the voluntary cooperation of Korean people. That is, we are also accountable for the colonial history of the nation. The Mercenaries contrasts the independence movement during the colonial period against the modern history developed after Liberation, thus highlighting the still continuing coloniality, namely post-colonial present. The past is presented as the "phantom of history" making its appearance according to the request of the present hoping for salvation. The author politicizes history and grants political wishes to history by summoning the history by personal memories such as fictional diaries and letters with Messiah-like images opposed to the present of collapse and catastrophe. In Chosun Detective Hong Yunshik, the author makes an attempt at the microscopic reproduction of daily life by approaching the 1930s as the modern period when capitalist daily life started to take root. The lists of signs comprising daily life in colonial Gyeongseong are divided between civilization and savagery and between modern and premodern. With the progress of narrative, however, they become mixed together and reversed in the representation system in which the latter overwhelms the former.

• The Journal of the Korea Contents Association
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• v.22 no.6
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• pp.428-438
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• 2022

The purpose of this study was to examine the modern implication and religious value of the Medicine Buddha faith. Accordingly, the theoretical background of Medicine Buddha faith was reviewed based on various literature, including Bhaisajyaguru Sutra, a representative literature on Medicine Buddha, and the two key goals of Medicine Buddha faith were set up and analyzed. As a result of this study, the modern implication and religious value of the Medicine Buddha faith were presented as follows. First of all, it is the modern implication of the Medicine Buddha faith. First, the Medicine Buddha faith promotes a shift in the perspective that disease is the subject of healing, not treatment. Second, the Medicine Buddha faith expands diseases not only to medical diseases but also to disabilities and makes them an object of healing. Third, the Medicine Buddha faith promotes healing through performance that strengthens the positivity of the mind. Next is the religious value of the Medicine Buddha faith. First of all, the Medicine Buddha faith has strong religious acceptance. Second, the Medicine Buddha faith is characterized by being accepted by modern people beyond religion and sect. Based on the results of this study, this study made suggestions to improve the quality of life of modern people suffering from pain in their daily lives due to diseases and unnatural death.

• Fashion & Textile Research Journal
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• v.9 no.6
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• pp.645-650
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• 2007

Three hundred of women between twenty and over seventy living around Andong, Sangju, Youngju and northern part of Kyungsang Province replied consumer research on industrialization of traditional clothing products in that area. An age distribution of the women is 60 people (20.0%) between 20 and 34 years old, 147 people (49.1%) between 35 and 54 years old, 93 people (27.9%) over 55 years old and the subject of study included in middle-aged and old-aged is 77.0%. A direct questionnaire and enclosed questionnaire are used to measure. The questions consist of questions about current circumstances of traditional clothing production, features of natural fabrics in the northern part of Kyungsang Province, distributive process, features classified by kinds, directions of development and economic conditions of natural fabrics. Andong has a traditionally unique culture throughout Korea. If Andongpo are developed as clothing fabrics harmonized beauty of tradition with modern characteristics, fashion business in the northern part of Kyungsang Province will be improved. In addition, encouraging majority of the young to participate in this movement is regarded as beneficial for the reinforcement of competitiveness against other regions and public relations of the region. As one of the solutions to development of this traditional clothing business, its own program made by industry-academic cooperation for the development of clothing products which is suitable for traditional fabric in Andong should be implemented.

• Journal of the Korean Home Economics Association
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• v.24 no.2
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• pp.13-23
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• 1986

We investigate several theories on how the cravate came into being and eventually evoved into the modern day necktie. Among the different possibilities, the most plausible case is the introduction of the neckwear by croatioan soldiers into France near the beginning of the seventeenth century. During seventeenth and eighteenth centuries, the beautiful costumes and extravagant embroideries using the expensive laces, were common oractices among the high society of the royal court, and the cravate evolved into a favorite ornament. While it was emerging as a beautiful part of man's dress in France and the continent, Charles II brought the cravate to England where it became the central part of the dandy's dress. The cravate became not only a part of dress but a subject for a solemn ceremony. George brummell was the most famous English dandy associated with this ritual and he is also credited as the father of modern men's dress. In england, Brummell became famous for his clean cravate was used as the expressionis of political opinions. They were san cravate, muscadins and incroyables, for example. The classic style of male dress in the nineteenth century was due to Brummell and the severe unadorned silhouette he started has changed very little to became the present day male dress.

• Journal of Korea Multimedia Society
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• v.21 no.5
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• pp.638-647
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• 2018

This study aimed to identify visuality changes in the $21^{st}century$ digital visual media art through the expension of digital frames based on visuality represented by Cartesian perspectivalism in the modern age. The visuality of perspective, camera obscura and panorama, which are called modern visual systems, was analyzed to illustrate each characteristic from a viewpoint of a seeing subject. These characteristics of the visual systems were restructured to meet the visuality of the digital era through the illustrations of Lacan's gaze. In addition, the characteristics of frames found in the $21^{st}century$ digital visual media art were identified, and they were categorized into and illustrated from physical, convergent and interactional viewpoints. The outcomes were classified into the $21^{st}century$ digital frame types, and new $21^{st}$century digital visual illustrations were suggested based on the results.

• Journal of the Korean Society of Costume
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• v.50 no.5
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• pp.143-157
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• 2000

The pastiche is one of the most unique characteristics in the post-modern period. The pastiche fashion design is an intentional imitation expressed by deconstructivity of the design. It has become the major creation method of post-modern fashion by expressing the image from the variety and creativity. The concept of imitation in pastiche is the important fashion subject which lead the dynamics and creativities of fashion when It has freshness and spiritual energy. The values of creative area of pastiche are as fellows - firstly, it provides the delightness through the disharmony by being released from the restraint and stress of the restricted society. Secondly, the characteristics of restoration generated by development and reproduced from imitation has become an origin of creation. Thirdly, the boundary between subculture and high-class culture would be dismantled and the elements of these culture are mixed to become a unique image through its abundance and compromise vague public culture. Fourthly, the pastiche fashion dismantles the basic structure of clothes to endow avant-garde esthetic appreciation. Fifthly, the folklore fashion representing the culture of minority and neighboring countries would become a new destroying the historically fixed clue. sixthly, the reinterpretation of pastiche fashion discovers the new regulations and beauties from Imitation to provides tow Important elements of post-capitalism fashion, dynamics and creativity. Lastly the consistent adaptation of image of fashion design with strong technical and theoretical basis can establish new fashions of this era with its unique creativeness.

• Fashion & Textile Research Journal
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• v.6 no.2
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• pp.135-143
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• 2004

In an information-oriented and internalized society of the future, the quality and price of goods made by each country will be equalized. That eliminates competition. But the design and appearance of products is an important factor in international competition. Indeed, design symbolizes a country's culture visually, and it can show the cultural identity and originality of a nation in international society. And that will play an important part that can contribute to creating added value. It is necessary to revive our people's old lyrical stories which are far away from our memory, and we badly need design development to revive traditional cultural merchandise through visual modernization. Among various Korean cultural inheritances, lotus is often seen in tiles, porcelains and folk stories. In this study, I chose lotus as the subject material of textile design development, and my intention for this study is to reflect Korean traditional cultural value as much as I can, and to develop textile design of Korean images by adding modern scenes. For that, first I researched lotus pattern materials and examples of cultural merchandise.

• Journal of Korea Multimedia Society
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• v.20 no.6
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• pp.969-977
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• 2017

Through Rene Girard's theory of triangle of the desire, this research investigates the mimetic nature of desire as shown in the main character of the movie The Servant. This paper analyzes the structural transformation of desire in the character, which is revealed by the process of reinterpretation via the medium change and convergence from Chunhyangjeon, a classic oral novel in Korea, to The Servant, a movie created by director Dae-woo Kim in 2010. The Servant is a meaningful research subject as the transformation of the inner desire of the character is accomplished by boldly designating Bangja, who is supposed to be a minor character, as the protagonist. In particular, Rene Girard's argument on the indirectness of desire in the theory of triangle of the desire helps understand the point where the character' inner desire, which naturally occurred in the existing narrative, transforms into the mimetic desire by an intermediary. This indirectness of the mimetic desire of the main character suggests a similarity with modern men's vanity which is offered by the capitalist era. Through this, the modern meaning of the mimetic aspect of desire as revealed by the transformation from the movie The Servant to Chunhyangjeon can be understood.