• Journal of International Area Studies (JIAS)
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• v.15 no.1
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• pp.61-82
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• 2011

Public resistance is an essential factor of the democratization process. Due to this, public resistance has been recognized as an important element in discussing the democratization of China. Recently in China, and a new era of resistance especially the agrarian resistance has been being expanded. This paper identifies trends and characteristics of that. With searching changes in the relationship between the nation and the societies in China, we will check whether democratization can be built from the whole bottom of the nation's ideology or not. It is a paradox of china's economic growth that the peasant uprising increased is a factor to the growth. The farmers' smoldering discontent exploded with rage because rural communities have been forced to sacrifice during the growth. The authoritarian party-state system in China has been faced with the limits in calming the peasant revolt down with the traditional suppression and restriction. Even though the party-state system in China has accepted farmers' dissatisfaction somewhat, and it has tried to improve its image of a benevolent government and pursued buying stability strategy, the gap between urban and rural areas has been expanded in the sustainable economic development and modernization process, therefore the authorities could not soothe the farmers' sense of alienation. Accordingly, the peasant revolt has not flickered out easily, and has been getting uncontrolled across China. Resistance characteristics of Chinese farmers have also changed. In the past, they had been sporadic and indirect ways, whereas in recent years, they have changed into organized and active ways. Of course, it is generally evaluated that the party-state system has sustained a strong social control so far. Buying stability strategy has prevented farmers' complaints from spreading to a threat to its regime, because civil societies in rural areas have still weak foundations from being formed. The party-state system, because of tensions and conflicts, will control the growing powers of civil societies in rural areas with institutionalization of interaction between the nation and the societies, and they will induce street protests to legalized struggle for a while. However, the relationship between the state and the societies has already started new rearrangement, in terms of that the conflicts between the state and rural communities have continued, and the changes of resistance ways.

• Cross-Cultural Studies
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• v.29
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• pp.133-152
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• 2012

Franciso Ayala's narrative work was published in the collection "Nova novorum" (1926-1929) of Revista de Occidente, founded by $Jos{\acute{e}}$ Ortega y Gasset. The author of Cazador en el alba was well aware of the avant-garde aesthetics and hence he put into practice an artistic rupture of the traditional narrative forms of Realism. The work consists of two short stories: "Cazador en el alba" and "Erika ante el invierno". The use of metaphor, Francisco Ayala's preferred literary device (which Ortega y Gasset already emphasized in The Dehumanization of Art), reveals the influence of $Ram{\acute{o}}n$ $G{\acute{o}}mez$ de la Serna's Aphorisms. Through a metaphoric language, "Cazador en el alba" describes the life of Antonio, a soldier and peasant, who visits Madrid and confronts the urban reality of the metropolis. "Erika ante el invierno" portrays with a singular depth the solitude of a woman living in another metropolis, Berlin. The author confessed that he wrote both short stories influenced by the European avant-garde and its use of poetic imagery and metaphor, common practice at that time. However, the main purpose of this article is to reflect upon the society of the first decades of the $20^{th}$ Century: the city, the people and their lives, the societal changes, as well as the innovative perspective of the new art.

• Journal of the Korean Society of Costume
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• v.21
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• pp.207-218
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• 1993

The desire of our contempories who wish to recover humanities fading away and get back recover humanities fading away and get back to the nature is emerging as a main theme of the fashion today the decade of facing 21st century. The prevalence of naturalness-ecology ru-ral peasant look-and ethnic look shows the tendency mentioned above. Kenzo Takada' works which exhibit this naturalness and ethnic look were picked and investigated. The objective of this research is to study the beauty of form and internal and investi-gate in what form the naturaless and Ethnic look in Kenzo's work. The result were as followings : <1> Draped form are mainly used as form and they are made neglecting the body line by straight-cut and provide the wearer ease and freedom of movements <2> As for the color fantastic original colors (red, blue, etc) and natural colors are used. And Strong color contrast is seen. In ethnic look original colors(red, blue, etc.) natural colors and ethnic colors are used. <3> As for the fabric Cotton neat skilk and wool etc are used mainly and use of such natural fibers represents the return to the natural well. <4> As for ornament natural things-straw hat flower feather pebble, shell-are used and exhibit natural feelings strongly. For the ethnic look ornaments representing each country's ethnic atmos-phere by hat scarf and neckcloth made of natural fibers. <5> As for naturalness Flower deer butter-fly leopard and plant etc, are used as motif. As for ethnic look flower geometric motif are used.

• Journal of Appropriate Technology
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• v.7 no.1
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• pp.33-40
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• 2021

The government of Uganda, which belongs to East Africa, approved the National Vison Statement, "A transformed Ugandan society from a Peasant to a Modern and Prosperous Country within 30 years". However, the Uganda is facing the problem of unbalanced development between urban and rural area in spite of the government's efforts. In particular, the urban-rural education gap is emerging as a problem that could negatively affect national development plans. In this paper, we explain the reasons why Uganda's urban-rural educational imbalance is accelerating. In addition, we would like to introduce a way to reduce the educational imbalance by using appropriate technology of ICT such as the electronic library system.

• International Journal of Costume and Fashion
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• v.15 no.1
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• pp.39-49
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• 2015

Heavenly Kingdom was known for their strict discipline and law as well as their anti-corruption practices and for putting up unconventional ideas to rule its kingdom. They became weak as their leadership was split along with the power struggles that occurred within their kingdom. Heavenly Kingdom's style of dress also ended during this period, but their philosophy continues to influence the style of dress. Taiping rebellion was modern China's biggest internal disturbance which prior studies included political ideals, gender equality and the peasant movement. My research is to associate Heavenly Kingdom's ideas and their dress style by analyzing its relations. Their form of clothing was similar to the Qing Dynasty but the same. They wanted to restore their identity of the Han(漢) while their ideology was oriented in creating a large enough military power to go against the corrupt Qing Dynasty as seen in their military uniform. This research is to analyze about Heavenly Kingdom's ideology with regard to their style of dress but because of their short existence, there are only small remains of artifacts and clothing available which limits this research. This research has to developing further research as I gather more additional data.

• Journal of Fashion Business
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• v.10 no.5
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• pp.28-44
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• 2006

The purpose of this study is to study the movie costume and color image through the movie "The Aviator". Firstly, looking at the costumes of main characters and their color images expressed in the movie, one extreme of Hughes' image to another was expressed in order to show his extreme inner world by using the light-dark contrast rather than specific colors as the base. The gold color used to express the image of Hepburn represented an image expressing her intellectual elegance. As for her dress silhouette, the taste of intellectual elegance was displayed by a dress whose back was exposed with a grownup-style feminine silhouette or one with drapes and pleats ornaments. To express Gardner's image; that is, her alluring charm and glow, a vivid red color was used. As for her costume, her splendid and fascinating image was expressed by the 40s' rectangular- shouldered tailored suit, exotic peasant blouse and showy accessories. Secondly, the color image expressed in the background in the movie as a special space for Hughes. The red color image of screening room was shown to be as a space for passion and desire and the green color image of men’s room as a space for stability and rest.

• Korean Journal of Soil Science and Fertilizer
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• v.17 no.4
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• pp.314-318
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• 1984

China has made rapid strides in agricultural production during the past few years. Although the absence of any serious climatic disturbances is a contributing factor, implementation of the responsibility system to reward peasant families for their initiatives has been by far the most significant. This has resulted in increased specialization, a greater requirement for technical adivsory services, and a much higher demand for farm equipment and production inputs. The revamped system has brought with it some problems such as differences in income between the most progressive producers and their less successful neighbours and urban workers, a shortage of storage, transport and processing facilities, and a strain on the national treasury to continue to subsidize farm prices. Demand for fertilizers has been increasing at a fast rate, especially for nitrogen. This has led to a serious imbalance in nutrient use which must be corrected if the current momentum in improving crop yields is to be maintained. Following a decade of total stagnation during the Cultural Revolution, agricultural research and education facilities are being strengthened. Younger scientists, many with overseas training, are being placed in key positions. China is still a developing country, and much remains to be done; however, progress in the last decade, and especially in the past five years, has been remarkable.

• Journal of Fashion Business
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• v.4 no.1
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• pp.97-111
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• 2000

The term Japonism was coined in France where the predilection for Japanese art forms was immediately apparent, influencing Impressionism, Symbolism, Post-Impressionism, and later the Art Nouveau movement, all of which reflect aspects of Japanese art adapted to Western style. The 1968 May Revolution in Paris changed traditional thinking and shifted the center of fashion of the 1970's from haute couture to pret-a porter. At about the same time, having recovered from the destruction of war, Japan started to emerge as a leading economic force. The Japanese clothing designers, who were inspired by their own traditions, began to present their collections in the West. Hanae Mori's dresses with Japanese floral motifs were the first to appear. The West was captivated by the colorfully layered clothing of Kenzo Takada inspired by peasant and working class kimonos. And Issey Miyake was acclaimed for his innovative concepts of ‘one piece of cloth'. In the 1980s Rei Kawakubo and Yohji Yamamoto achieved recognition with their deconstructivist and minimalist approaches to fashion. The clothing proposed by these Japanese designers has transcended not only national and sexual boundaries, but also those of accepted materials in which to work. These designs suggest new possibilities and are unrestricted by preconceived ideas of kimono or of Western clothing. The emergence of Japanese designers as a powerful creative force in the late twentieth century has created a new dimension to the term Japonism in fashion. By integrating the clothing traditions of the West and Japan, while at the same time departing from them, a new international genre of clothing has been created.

• Journal of the Korean Society of Costume
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• v.58 no.6
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• pp.69-84
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• 2008

Considering that star reflects the image of current society, analyzing fashion of celebrity is to read ideal type and demands of beauty of the era. Especially the rock music-represents youth culture that last on present day-born in 1960's, and it is considered to a significant decade in pop music history. Thus this research will analysis rock star's fashions in iconological view of E. Panofsky. The aim of this document is Clarifying how the fashion of pop stars appeared and what formed its worth. As a result of analyzing fashions of rock star in 1960's, it is available to find these sameness and difference. The Mods borrowed images of the past, and introduce the elite modernism and shows very urban style. The Folky and the Psychedelic showed post-structuralism propensity against industrial society, in the case of the Folky it induced styles that symbolize labor class to realize social worth. And as an aftereffect of war and repulsion of commercial worth, they embody nature-returning peasant look so that it shows pastoral mood in total. The Psychedelic express somewhat struggling escapism and it generated illusionary images with quests to superego and glorification to psychedelic status. The Folky and the Psychedelic are same in the side of introducing existentialism, this occurred by using ethnic factor. But the Folky showed plain outlook by pop propensity, on the other hand, the Psychedelic showed magnificent outlook such as optical art, pop art, and futurism ought to express merrymaking culture. And common feature of these is introduction of unisex mod which is came after the change of gender role. Thus each star or group has professed special ideology into their culture and it is reflected to acts which is including music and dress style. This affair is analyzed like these two things. The mass of people schemes their identity with inducing special ideology to their culture at the first. And the purpose to archive cultural hegemony in inter-social class at the next.

• Journal of the International Relations & Interdisciplinary Education
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• v.1 no.2
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• pp.102-117
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• 2021

Higher vocational education in China has already achieved commendable results as a transition from rudimentary development to high-quality development after more than 40 years of development. After reform and opening up, our country's Institute of Higher Vocational Education has transported a large amount of high-quality technical and technical talents to each field. Higher vocational education is an indispensable part of China's education system, and is an important competency for cultivating "high quality", "practical" and "functional" talents, making a huge contribution to the economic and social development. At the same time, the employment stress of workers with relatively low skills, such as peasant workers, domestic veterans, and retired workers, is increasing. Against this background, higher education is essential to guide and support national policies in order to solve the unemployment problem and provide strong human resource guarantees to society. Higher vocational education policy not only highlights the characteristics of the times unique to the development of higher vocational education in China, but also reflects the trajectory of changes in higher vocational education. Not only is it related to the scientific development of higher vocational education, but it also deals with whether higher vocational education can foster high-quality human resources. Therefore, it is meaningful to study the change process of higher vocational education policy.