• Journal of the Korea Fashion and Costume Design Association
• /
• v.7 no.2
• /
• pp.51-60
• /
• 2005

This ethnography is on the passage ritual clothes in Incheon province. This ethnography invatigates in two villages of people who has same family name -Family 'Cheung' (from Young-il) in Yeonsoo-dong and Family 'Lee'(from Cheun-joo) in dongyang-dong- in August to December 2003. The object of examination is 80's and 70's old women who have lived and had lived up to recent in two villages. (grand mother Sung, Cho, Cheung and yoon) The clothes of passage ritual are Baenaeoht is the first clothes of the newborn baby(swaddling), A wedding ceremony clothe is the clothing for the coming-of-age ceremony, Honryebouk is the clothing for wedding, Sangbouk in the clothing for mourning, shroud is the clothing for the dead, sacrificial robes. The result of ethnogrphy is the passage ritual clothes in Incheon Province similar with other Provinces in aspect of the name and the form and wearing of the clothes. there are remarkable differences in making method from making by oneself to purchase(swaddling$\cdot$shroud), westernize(clothes for wedding and mourning), simplification (sacrificial) between ritual for their parents and their husband and children.

• Fashion & Textile Research Journal
• /
• v.6 no.2
• /
• pp.144-152
• /
• 2004

In this study, the settlement of this etiquette book and the five-class mourning-costume system throughout two dynasties is examined and analyzed.; According to the Chosun dynasty's efforts to practice Chu-Ja-Ga-Rye(朱子家禮, Chu Hsi's Book of Family Rituals) through legal intensification and enlightenment policies, the book's teachings had a general effect on society at large. As a result, the family system and funeral rites turned Confucian from a Shaman-Buddhist mixture. As the Confucian order was strengthened to highlight the authority of the male family head, the funeral rituals were based on Chu Hsi's Book of Family Rituals. So, the 100-day funeral of Koryo turned into the 3-year funeral in the Chosun dynasty. Also, the main and father's lines were valued, while the mother's and wife's lines were neglected. Even though there was no great difference of status or place between males and females in the Koryo dynasty, the settlement of Chu-Ja-Ga-Rye brought about the drop of women's status as they gradually began to be dependent on men.

• The Research Journal of the Costume Culture
• /
• v.12 no.1
• /
• pp.73-89
• /
• 2004

The following is a summary of comparative study on costumes between 『Cheng-Hoe-Jeon-Do』 and 『Chen-De-dang-an』 in Gun-Ryung 41st, 42nd and 43rd yew to find out costume situation actually worn by Emperor Gun-Ryung in Qing dynasty. In Gun-Ryung 41st year, Emperor's costumes showed a sign of royal tour robes. In 42nd year, a phase of mourning robe system came out and a plain side of costumes was shown owing to the mourning. In 43rd year, it showed costume situation worn by Emperor in peaceful year without any particular event. Velvet, material for traveling crown was used in a short time before and after the change of the season besides royal tour and this can be understood as a well-timed and reasonable selection of material. Eventhough robe material, Jik-kyung-Ji-chack-sa(a kind of silk) had been used for summer robes since Gun-Ryung 42nd you. Memorial costumes followed Emperor's court costume system I in 『Cheng-Hoe-Jeon-Do』 and court belt I or II as memorial suit belt was used for the memorial costume of Emperor Gun-Ryung and they properly applied of the costume system in 『Cheng-Hoe-Jeon-Do』 for coats.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.26 no.1
• /
• pp.77-98
• /
• 2024

The mourning attire worn by the Sangju (Chief Mourner) during Confucian funeral rituals is known as Gulgeonjebok. It is comprised of Gulgeon, Sujil, and Hyogeon on the head, and Jungui underneath. On top of the Jungui, the ceremonial garments called Choeui are worn, along with Choesang. Yojil and Gyodae are then tied around the waist. Mahye and Hangieon are worn on the feet, and a walking stick made of bamboo, paulownia, or willow is carried. A needlework master, Choe Onsun, who was designated as a Holder of Intangible Cultural Property of Jeollabuk-do on November 27, 1998, is recognized for her efforts in restoring and recreating the forgotten Gulgeonjebok. Thanks to her endeavors, the period, regional, and cultural characteristics of Gulgeonjebok in the Jeolla Province have been preserved. This study aims to examine and reproduce characteristic items of Gulgeonjeboks handed down by a needlework master, Choe, by conducting an empirical study on the dimensions and schematization of the Gulgeon, the method of cutting, and the sewing process. The empirical research on Gulgeojebok is expected to further enhance traditional sewing skills. It will also serve as a foundation for deepening the level of research on traditional dress and sharing traditional cultural heritage.

• (The)Study of the Eastern Classic
• /
• no.68
• /
• pp.209-235
• /
• 2017

This study was conducted for a review of Park Se-chae's Theory of Rituals and eclectic features. He was in agreement with Song Si-yeol's allegation and Seoin's theory of rituals(西人禮論) in the 1659 controversy over propriety(己亥禮訟) and the 1674 controversy over propriety(甲寅禮訟). After that, he was cautious and criticized for Song's claims in 1683 discussion of Hyojong's sacrifices and Taejo's posthumous name. This tendency can be seen in his paper of rituals. He wrote "服制私議"(Private opinion of mourning clothes) etc. in his early life and wrote "關西昏喪契約束"(Covenant on wedding ceremonies and mourning ceremonies in the Gwanse province), "喪祭値疫痘說"(Mourning ceremonies and sacrifice when there is an epidemic) etc. in his later life. By comparing the books, we can identify changes in Park Se-chae's eclectic features. Early in life, he reviewed Gorye(古禮, Rituals of the old such as Liji) and the timely institutions(時制) on the "朱子家禮"(A book written by Zhuzi about family rituals). However, later in life, he reviewed Gorye and the Zhuzi Jiali on the timely institutions. The following is a summary of the above. His theory of rituals can be said that the eclectic features have changed from 'on Zhuzi Jiali' to 'on the timely institution'.

• Journal of Popular Narrative
• /
• v.25 no.1
• /
• pp.123-161
• /
• 2019

The popularity of melodrama indicates that melodrama is composed in a historical context. This is the reason why it is necessary to analyze the imagination of melodrama within a sociocultural context rather than asking the essentialistic question of "What is melodrama?". (2016) and (2018) caused sensations while holding unchallenged top positions in terms of viewing rate and popularity. These dramas indicate the popular imagination and desire of Korean society in the 2010s during a period of upheaval. This paper analyzed imagination in melodrama with a focus on nation and emotions of individuals in and . In preexisting dramas, conflicts are often limited to individuals and families; on the contrary, in and , a nation appears as a motif that forms conflicts between individuals. In these intense situations of conflict, people make rational judgments at first; however, they soon dispose of such judgments and reveal value-oriented attitudes through emotions, which drive actions. Both dramas form poésie mainly through poetic rhyming and the mise-en-scène of objects. The dramas also amplify emotions. The main emotions of these dramas are sympathy and sadness. Such emotions are not consumed in itself; instead, they show moral aims through performativity. Consequently, sympathy becomes solidarity, and sadness becomes mourning. Unlike preexisting melodramas whose endings were simply pursuits of love and happiness within the realm of individuals, and demonstrate a moral imagination that simultaneously reminds us of the individual and community through solidarity and mourning.

• Journal of the Korean Society of Costume
• /
• v.14
• /
• pp.75-85
• /
• 1990

The dress and personal adorments of Chi Li in Li Chi was investigated in this study. The summary of this study is as follows: It was found that the ancient Chinese used their dress and personal adornments as an important means of maintaining or establishing harmony with the universe, supernaturals, and human beings. It also appeared that dress was used to control man's psychology and to maintain social order. Differentiation of person's social status and position was made by using dress and personal adornments. Ceremonial costume such as mourning appeared considerably in Chi Li.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.29 no.5
• /
• pp.71-83
• /
• 2001

The purpose of this study is to find out the characteristics of landscape details in representing symbolic images in memorials on the themes of war, tragedy, and the democratization movement. In considering the characteristics of memorial landscapes, the researcher divided the characteristics of landscape details into 3 analysis categories. They are the symbolic application of landscape elements, the embodiment of landscape details, and the organization of landscape details to represent symbolic images, for example, memory, mourning, reflection, healing, glory, and identity. Among details in 24 memorials designed in or after 1970. 133 symbolic details were selected including 64 items in Korea. The analysis revealed that among 30 elements used by designers for memorialization, walls, ponds, sculptures were used more often than other elements in representing the meaning of mourning, reflection, and healing that are the basic function of memorial. In regard to detail form, the designers used basic shapes like circles, squares and rectangles, horizontal and vertical lines to heighten the symbolic effect of shapes in confined form. Stone and water utilized from nature were also used as main materials because of their materiality meaning of death, eternity, life, and healing. The techniques of using lighting, fire, and sound were introduced to make details more effective. Details were organized in harmony and repetition to represent the flew of time and space in symbolic images. The study identified the following characteristics of memorial landscapes in Korea that were different from other country first, in designing memorials, most designers in Korea have been more focused on the organization of space than the details in memorials, and so, they have been neglecting to deliver symbolic image through detail design, while depending mainly on the introduction of art works. Lastly, because they introduced traditional elements which have little relation with the symbolic image needed, there have been many details which inaccurately represent symbolic meanings.

• Journal of Fashion Business
• /
• v.7 no.5
• /
• pp.1-12
• /
• 2003

In this study I surveyed the dress and the color symbolism of Scarlett and Melanie in the movie "Gone with the Wind" based on the novel by Margaret Mitchell. In investigating the dress and the color symbolism, I analyzed Scarlett and Melanie's image as described in the novel, and examined how the symbolic imagery is represented through coloration based on the DVD reproduction of the movie "Gone with the Wind" originally produced in 1939. In her novel, the author Margaret Mitchell introduced two women, Scarlett and Melanie, whose respective image sharply contrasts with each other. To express Scarlett's young, vigorous, lusty, and vivacious image, she uses green to depict the character, clothing, and background on the whole. Black, which mainly expresses the death image of the mourning dress. Red symbolizes her fast and lavish image. On the other hand, gray is used to describe Melanie's sedate, shyness, and modest image while alluding to her gloomy atmosphere. Brown symbolizes her sedate and plain image in the novel. In the movie, green symbolizes Scarlett's overwhelming image of youth and liveliness as also depicted in the novel. Melanie, however, seems to appear consistently in gray-blue or purple dresses to reflect her image of modesty, sedation and dignity. Melanie's blue image contrasts with Scarlett's blue image in that the latter is used to hint at the omen to a tragedy to come. Red is used to express Scarlett's passionate and fast image. Black symbolizes death or mourning in the movie.

• Journal of English Language & Literature
• /
• v.55 no.6
• /
• pp.1035-1056
• /
• 2009

Korean adoptee narratives have proliferated over the last ten years as adopted Koreans have begun to represent their own experiences of violent dislocation, displacement and loss in various forms of literary and artistic works, including poems, autobiographical works, novels, documentaries and films. These narratives by Korean adoptees have intervened in the current diaspora discourse to question further the traditional categories of race, ethnicity, culture and nation by representing the unique experiences of the forced and involuntary migration of adopted Koreans. For a long time, the adoption discourse has been mostly constructed from the perspectives of adoptive parents. Therefore the voice of adoptees as well as that of the birth mothers have not been properly heard or represented in adoption discourse. According to Hosu Kim, the U. S. adoption discourse, feeling pressured to deal with the stigma of the commodification of children, changed from viewing the adoptees as children who had been rescued from poverty and abandonment to considering them as a gift from the birth mothers. With the emergence of the gift rhetoric in transnational adoption, the birth mothers erased from adoption discourse have begun to be acknowledged as one of the central characters in the adoption triad. If Korean adoptees are the "the ghostly children of Korean history," the birth mothers are their "ghostly doubles" who "bear the mark of a repressed national trauma." Somebody's Daughter represents the female experiences of becoming an adopted child and of being a birth mother. In particular, the novel makes a birth mother, the forgotten presence in adoptee narratives, into a central figure in the triangular relationship created by international adoption. The novel historicizes the experiences of a Korean adoptee growing up in America as well as those of a mother who had suffered silently from feelings of unbearable loss, guilt, grief and from unforgettable memories. In addition, narrating the birth mother's story is a way to give humanity back to these forgotten women in Korean adoption history. Revisiting the site of loss both for a mother and a daughter through the novel is an act of collective mourning. The narratives about and by Korean adoptees force Korean intellectuals to reflect seriously upon Korean society and its underlying ideology which prevents a woman from mothering her own baby, and to take an ethical and political stand on this current social and political issue.