• Journal of the Korean Society of Clothing and Textiles
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• v.12 no.1 s.26
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• pp.1-11
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• 1988

This study dealt with the Dopo, one of the representative ceremonial dress that acclasical scholar used after the middle of the period of the Chosun dynasty. This study represents the period of Dopo's formation and its origin, and the characteristics of the weary of Dopo in Young Dong Province Area is arranged by folkloric method on the base of the exisitng facilities. Dopo has worn since the middle of the period of the Chosun dynasty. It is the kind of Jig young Po that its back is cuffed for convenience and has another cloth as a ceremonial dress. It is thought to be one of the national customs pos formed by the mixture of the big sleeve type which is influenced by confusion life feeling. It seemed that the name of DoPo comes from the Jigchal, an ordinary dress of a high official in China, which is call Dopo. This Dopo is changed and received and so disappeared but it is still used such as ceremonial dress, the necessary articles for marriage of the bride, a bridegroom's liturgical vestments of a memorial service held on the anniversary of the death of a person, mourning dress and a shroud grave clothes. This area has different characters on wearing customs. It is changed into the kind of Dopo, with its back not cutting. The hemp sack is almost used as its subject matter. It doesn't have collar strip for the classification of one's family in any case, and Dopo which is prepared for necessary articles for marriage can not be taken tack after seperating by divorce.

• Lingua Humanitatis
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• v.2 no.2
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• pp.163-182
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• 2002

In Origin of the German Mourning Play(1928), the critic Waltre Benjamin strongly criticized the German Romantic concept of the symbol, according to which the universal and ideal can be represented wholly in the particular and empirical by virtue of an ontological connection between them. Yet this criticism did not prevent Benjamin, in his epistemological preface to the book, from availing himself of the same monadological model (derived from Leibniz and Goethe) on which the Romantics had relied. Although he specifically rejected their insistence on the fusion of the phenomenal and the ideal in the symbol, his own theory of Ideas and their presentation in criticism nonetheless requires just such a fusion. This is not immediately apparent for two reasons: first, Benjamin proposes, in contrast to Platonic and Romantic theory, that Ideas themselves are subject to historical change, and therefore not capable of manifesting themselves fully in any given historical phenomenon; and second, he proposes that Ideas rather than phenomena are monads, individually representing the whole of the world in which they participate. The task of the critic, which Benjamin calls Darstellung("presentation"), consists in revealing Ideas by reducing historical phenomena to their constituent elements and reassembling those elements in what amounts to a mosaic of quotations. But this task is possible only if the critic has a preconception of the Idea he is trying to reveal-a possibility that Benjamin′s theory of knowledge does not allow for at all- or if he can discern the Ideas in the individual phenomenal fragments from which he creates his mosaic, in which case phenomena and Ideas must be related monadologically after all. Benjamin seems to admit the latter possibility in a cryptic sentence in the manuscript draft of his preface to the Origin, but he does not do so in the final printed version. Thus he effectively deprived the critic of an epistemological basis for the presentation of Ideas.

• Journal of the Korean Society of Costume
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• v.30
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• pp.295-306
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• 1996

A large quantity of exhumed clothing found for recent 20 years has becom-e the material for making a concrete clarification of the structure of clothing in the Chosun dynasty. Exhumed clothing means the clothing found in the coffin when the grave of the ancestor buried several hundred several hundred years ago is removed to another pla-ce and it is almost comprised of ordinary clothes of the grave-owner not mourning clothes as well as clothing and ornaments in the period between the 15th cen-tury and th 19th century. This research is intended to inquire into the kind of chimas in the 16th century before the Imjin Japancese Invasion of Korea during 1592-1598. The after effect of the Imjin Japanese In-vasion was generally reflected in clothing them and the structure of clothing in the Chosun dynasty began to overshadew its di-chotomy with the Imjin Japanese I vasion of Korea as the point. Accordingly this research is concerned with the study of the chima system of the early Chosun dynasty which shows that there is a common point of the identical form though clothing was exhumed in different graves. Therefore it was possible to grasp women's clothing that was fashionable at that time The object for research is the women in the upper class of the 16th century whose representative characteristics are depicted as follows: 1. Women in the upper class wore the splendid clothing similar to the ordinary clothing of court ladies. 2. The division of ordinary chima and ceremonial chima appeared in the concrete. 3. Ceremonial chima had its extra width and length and exhibited its exaggerated silhouette. in particular it had a various forms of over-pleats made at its center front which play a role in supplementing discomfort in walking. This associate bustle and crinolin styles through which the modern design of clothing can be glimpsed. 4. The opposite phenomenon was shown that has been perceived up to now such as folding at the right plain seam the treatment of the edge-and the like. 5. The elaboration of manual needlework shows the culmination of women's workmanship.

• Journal of the Korean Society of Costume
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• v.64 no.1
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• pp.152-164
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• 2014

Korean people have revered the white color and enjoyed wearing white clothes. Various kinds of white clothes have been worn by the Korean people, ranging from everyday wear(便服), and scholar's robe(深衣) for the upper class, to religious costumes like Buddhist monk's robe(僧服), shaman costumes(巫服) and costumes for ancestral rites(祭服), or mourning(喪服). There have been many differing opinions by historians regarding the background of this Baekeuihosang(白衣好尙, the preference for white clothing) tradition and even now, it is frequently being discussed. This study aims to consider and discuss the background of this Baekeuihosang tradition, focusing on Chang-seon Yoo's Baekeuigo(白衣考, the consideration of white clothing), which was published in Dong-A Ilbo in 1934. The purposes of studying literature such as the Baekeuigo is to analyze the arguments on the origin of Baekeuihosang, to analyze Chang-seon Yoo's claim of its origin, and to discuss the culture of Baekeuihosang. Chang-seon Yoo claimed that the existing discussions on the background of Baekeuihosang based on the lack of dyes, or undeveloped technique, economic privation and national control strayed from historical facts, according to literature review. It is not worth discussing the farfetched arguments such as the use of costumes for ancestral rites as everyday wears, or the nation of sorrow. Baekeuihosang tradition mostly originated from the effects of many religions and the taste for innocence, or naturalness. White clothes were infused with the sorrow and emotion of Korean people and were also worn to show resistance to foreign power as symbols of ethnicity. Therefore, there should be a new view of the discussion of white clothes and Korean aesthetic sense, away from the logic distorted by the Japanese colonial view of history.

• Journal of the Korean Society of Costume
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• v.41
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• pp.207-223
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• 1998

The purpose of this study is to abstract the image from black dress, which has been favored by many people regardless of the times and examine it throughout the history of drss and thereby clearly define the images that black limplies in dress. Color image is a visual symbol, an image that forms through a combination of visual stimulus created by color, coupled with all the external factors related to it. Black is a one-dimensional color, of which the impact is subjective to its energy, which depends on light reflected on the object, and its texture. Therefore, black projects different images, depending on its surroundings. In general, black has had negative connotations in the Western culture. In dress, however, it has implied other various images different from the general negative ones. By combining general images of black and those exprssed in dress, major images of black were categorized into dignity, elegance, eroticism, asceticism and tragedy. Dignity is a category similar to the sublime. Dress with dignity has sharp contours and is generally made of velvet or silk which can be characterized by their splendor and voluminous-ness, exaggerating the body of a person wearing it. Such costume is mostly found in powerful countries in history such as Burgundy Court in the 15C, Spain in the 16C. Netherlands in the 17C. Elegance evokes grace and beautifulness. It includes elegance, grace, beauty and dandyism as subcategories or silk. Good examples are dandies' black costume and Ladies black and white dressees in the 19C. Eroticism is an image which expresses sexual attractiveness. Costume with eroticism is made of velvet or silk, which project sumptuousness through reflection. Such costumes expose parts of the body or are tightly tailored in order to emphasizes body contours. Asceticism means restraint from physical and mental desires. Costume with asceticism makes a person wearing it look smaller by covering the whole body. Puritan's black dresses and Bourgeoisie's black suit are good examples. Tragedy is anguish. sorrow. Black costume with grievous feelings such as mourning dresses is made of lusterless textile concealing most of the body except for the face.

• Journal of Fashion Business
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• v.22 no.4
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• pp.76-92
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• 2018

The purpose of this study is to find the meaning of women's fashion in the city culture of Paris in the nineteenth century by examining paintings by the Impressionists. The research method was based on literature survey and visual examination paintings, 224 paintings(by ${\acute{E}}douard$ Manet, James Tissot, Edgar DeGas, Gustave Cailleboat, Jean $B{\acute{e}}raud$, Pierre-Auguste Renoir) were analyzed in this study. The results are as follows: In the nineteenth century, Paris was a new city with new department stores. Department stores were centers of consumer culture, where the power of capital appeared rather than class. The spatial backgrounds of Impressionist paintings were places where they could see the consumption and leisure culture of urban people, such as outdoor parks, cafes, theaters, ballrooms, bars, streets, and the boats. As for the characteristics of women's fashion in paintings, it was found that various changes of artificial silhouettes were developed. Various frills, ruffles, gatherings, and pleats were thought to have been made by machines. In the urban space, many of the women's costumes stood out because of the black color. Not only the black color came to represent widows and mourning but the black outfits worn by women enhanced their sensual appearances. Women's fashion expressed in Impressionist paintings eventually contained a modern meaning that changed from 'class symbol' to 'expression of taste'. And the symbol of consumer and leisure culture showed, and a Demimonde's fashion became a trendsetter, and painters were used as an important element expressing modernity.

• Korean Journal of Hospice Care
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• v.2 no.1
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• pp.182-192
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• 2002

Childhood Cancer Foundation of ROC(CCFROC) has been founded since 1982. Its goal is to provide comprehensive care for cancer children and their families. And in turn, under the provision of good and complete care, they can be back to the school and society. To achieve this goal, it needs to get every body's effort of the society together. The foundation has been founder under this concept and tried to fulfil this task. The first step is to educate the public to know that childhood cancer can be cured and the process of treatment is long and expensive. In order to reach this life-saving procedure, campaigns for raising money is most important thing. Then, pediatric hematologists / oncologists try to organize study group, named Taiwan Pediatric Qncology Goupp(TPOG), to make treatment protocols for childhood cancers. Its primary purpose is to increase the cure rate to prove the earlier the diagnosis and treatment, the better the prognosis. The second step is to provide full support of medical expenses and further to give help for emergent need to living. Through the varieties of active exercises of cancer children or families, foundation provides opportunities for them to share the experience during the different periods of diseases. The third step is to extend the scope of training activities for many kinds of personnel who devote to the care for cancer children. On the other hand, it promotes the cooperation or communication with international organizations and sets up recreation playing ground in the communities. The aim is to provide a comprehensive and integrated care for cancer children during their education, breeding and even accomplishment period. Besides the financial support of medical care, it provides social services to give psychological support for children and their families, to strengthen doctor-patients or doctor-families relationship. The foundation provides the mourning religious activities to cherish the memory of their children who passed away and to comfort their sadness. Since the childhood cancer is curable, its treatment should be active, comprehensive and it needs to provide to all cancer children without exception. Indeed, the work of CCFROC should be changed according to the environment and different time period. But, it needs the full support from the society. We hope the scope and content of the work will be more extended and its achievement will be better than now in the future.

• Journal of the Korean Society of Costume
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• v.54 no.4
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• pp.41-53
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• 2004

The significant role of colors in fashion design is not enough to emphasize in terms of one of the important design elements and its influences on the behaviors of the people. The purpose of this research is to examine the traditional Chinese colors and its ways of color combinations to appreciate the Chinese culture and its people. The Chinese traditional costume of Ching Dynasty were investigated through historic records, historic nobles, costume accessories and so on. The results of the study were summarized as follows： (1) The Blue was the most favoured color for clothing among men and women during Ching dynasty and various blues in terms of hue, value and intensities were used. (2) The bright Yellow which had been a symbol of Emperor were prohibited being used among people. Though, the late period of Dynasty, the regulation became not to strict and various shades of yellow families were adapted among People. (3) The Red which had been preferred during Ming Dynasty were constantly favoured for the formal wears of auspicious events such as weddings. (4) Dark color groups were loved for the clothing which were used as a ground colors against the flamboyant patterns revealing strong visual effects through value contrast or primary color combinations. (5) The White had a symbol of mourning and there were some intentions to adopt pale color groups such as mint, jade, gray, moon whit,. silver white to make up for white. (6) Contrast color combinations were one of the basic ways of color combination in Chinese traditional costume. Therefore Chinese color combinations has a strong visual effect and easy to draw attention of people by the contrast of the hue, value or intensity of color. (7) Multi-color combinations were another characteristics of Chinese costume in the formal wears which bears many surface designs. The surface decorated with full of motifs, were appreciated by the people expressing their longings and hopes through the auspicious meanings of patterns and striking visual effects of color combinations.

• Korean Journal of Social Welfare
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• v.66 no.1
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• pp.5-34
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• 2014

The purpose of this study was to evaluate the school-based post-suicide crisis intervention program for adolescents. Researchers implemented the post-suicide crisis intervention program for all the students, classmate students, teachers and staff members in seven middle/high schools where the suicidal accident happened. Researchers collected data from the three participant groups using open and closed questionnaires and documents, and analysed the data applying mixed evaluative methods. Main results were as follows; First, classmates in two classrooms responded that this crisis intervention program was useful for expressing the sad feeling and mourning their friend. Second, consciousness for life respect of classmates in four classrooms increased. Third, the meaning such as the change of consciousness for life respect and psychological stability was drawn from analysis of categorizing the responses to open questionnaires. Teachers and staffs in six schools responded to questionnaires that post-suicide crisis intervention was helpful for classmate students. Based on the results, practical guidelines were suggested.

• Journal of the Korean Home Economics Association
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• v.23 no.3
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• pp.27-38
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• 1985

In KOREA, the history of weaving is so long even in prinitive, there are the traces of fabric emmision using Spindle already in the Neolithic age. And coming up to the period of Three States, becoming active of cultivation of fibers, it can be known the variety of kinds and the production of fine products by improvement of new method of weaving using weaving machine. In the period of shilla state, there is a record of making the fine fabrics with 28 bracts. But wearing of silks fabrics was limitted for only the nobility and common people were wearing native thick hemp clothes. Also in the period of Korea state, they were wearing the hemp clothes by cultivation of hemp. The good quality products were worn by the King or the nobility and women in KOREA made their best with whole efforts to pay to the authorities with woven products of hemp clothes, so in the 14th year of King Chung- Ryul, King prohibited the presentation of fine hemp clothes by his order. By the end of KOREA state, before the production, common people was mainly wearing the hemp clothes. Coming up to the Kingdom of Chosun the sericulture was promoted by establishment of the sericulture encouraging low. Therefore the working hours of women were highly increased. The products of Song-do, Chin-ju for cotton clothes, those of Han-san-the same now as in old times-for ramie clothes, those of Han-Kyung province and An-dong for hemp fabrics were estimated as the best qualities. And the hemp clothes of Kang-won province is not so fine but is very useful and famous for mourning clothes and summer clothes for the farmer. It is true that our history of weaving was begun with hemp as a continous and precious friend of common people during all the historical periods-even though for a while it went backward because of chinese silks.