• Journal of Fashion Business
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• v.6 no.6
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• pp.56-67
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• 2002

Fashion designs reflect the trend of the times embedded within the cultural structures of eastern and western civilizations as well as the traditional styles. However, the motives in fashion designs fundamentally come from human beings' willingness for creation through deep understand of nature or using symbolism and artificial esthetic appreciation. Mankind has expressed their willingness for creation through speculation not with the attitude of conquering nature but by acknowledging the flow between their lives and nature. The purpose of this paper is to investigate human beings' transcendental and embracing attitude toward the natural environment and the human environment in fashion design. In natural environment factors, sublimity toward nature's marvelous powers and the transcending state of mind within happiness and delight or the extreme fear or unavoidable coerciveness and the consequential daunting feelings and smallness, and sorrow all stimulate the will of mental speculation and cause a transcending sublimity. A sublime state of mind does not exist in a superficial framework of enjoyment. It is rather an act of transcendence and embracement residing in a sublime object and leading man's spirit into a state of philosophical thought. Also, in man-made Environment factors, we found from magnanimity we were ability to see the true nature of an era's culture.

• Journal of the Korean Society of Clothing and Textiles
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• v.39 no.4
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• pp.477-491
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• 2015

This study analyzes Chinese dresses featured in propaganda posters since the mid-$20^{th}$ century as well as explores the political characteristics of dress. This study used an in-depth interview method to investigate information from 10 Chinese familiar with public awareness and donning practices of the Chinese from 1949 to present. Interviews and analysis provided the following conclusions. First, Zhongshan-zhuang, Liening-Zhuang and Bulaji were widely worn in the Reconstruction because of the revolutionary spirit; in addition, Huayishang also became simultaneously popular as a means to reflect the new aspects of socialism. Second, Jufu/Junbianfu were the most common dresses during the period of Cultural Revolution because the government used various mechanisms to control public opinion. Third, Western fashion began to enter the Chinese market and suit wearing by the Chinese became a symbol of the Reformation and Open-door policy. Traditional dress is no longer a symbol of Feudalism and is a part of Chinese culture that has been reaccepted in the Reformation and Open-door times. Finally, during these 60 years, Chinese dress has obvious political characteristics, but began to change. The changes of political characteristics were, de-politicization expressed by the introduction of Western ready-made, permissions for traditional dress and diversification/ individualization.

• Journal of the Korean Institute of Landscape Architecture
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• v.31 no.3
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• pp.34-45
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• 2003

The motivation for transforming the Seoul City Hall plaza into place for pedestrians was prompted by the 2002 World cup event. This place has diverse time layers ranging from the Yi-dynasty to the present. Around city hall, diverse cultural assets and distinctive architecture are scattered. The place is a kind of melting pot that represents different times and cultures in the city. Transforming place for cars into place for citizens suggest several implications in city making policy such as high priority for pedestrians in urban design and enhancement of the public open spaces through downtown remodelling. Our plan is to propose the idea of Media plaza. One of the characteristics of Seoul now can be summarized as Media because the W industry and infrastructure are well developed in the city. ´Seoul Media Plaza´ adopts high-tech infrastructures such as RGB color post, multi box, I-Gate, etc as design materials. Three concepts of the plan are ´evolutionary plan´, ´flexible plan´, and ´participatory plan´. First, the plan will embrace the future changes of external conditions. Second, the plan should be flexible to accomodate the diverse activities in the plaza. Another special aspect of the plan is a kind of open plan. The ground surface of the plaza will be changed in its pattern and shape by citizen participation. Finally, the ´Seoul Media Plaza´ attempts to represent the spirit of Seoul and to connect the past, the present and the future while promoting citizen participation.

• Journal of the Korean Society of Costume
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• v.66 no.2
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• pp.32-44
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• 2016

Having set a trend for luxury fashion brand markets since the $17^{th}$ century, France has established the norms and the forms of the fashion business. In addition, it has maintained its status as a leading fashion power by discovering economic value from the intangible value of design and brand, and developing fashion into a high value-added industry. This paper aims to examine the socio-cultural factors that have exerted a positive influence on the formation of "fashion power" in France from a historical perspective. It will focus on four major external historical factors that made France the top fashion power: insights and innovation of French leaders as well as their constant concerns and efforts for the promotion of fashion, a tradition of experimental cultures and arts, open and the public-centered social environment and an atmosphere of cherishing the values of creation, and the establishment of a legitimate system that protects them.

• The Journal of the Korea Contents Association
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• v.12 no.7
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• pp.76-85
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• 2012

Early photography history of Daegu, Gyeongbuk Province, Gyebok Choi were taken a lots of prizes of famous contest and known to the nationwide in 1930's and then his photos became an example of salon photography. And his documents of Mt. Baekdu & Dokdo in 1940's was the outcome of self-consciousness. Wangsam Koo proposed the realism of the photo. He saw, the base of photos should be reflected the lives of people of the times and the characteristics of the period, and he had great influence to the history of Korea photography with his own unique vision. These photos and theories accomplished a photo aesthetic to Korea photo history in 1940's. Besides it had been the national spirit at Youngnam province in the early 20th century.

• Lingua Humanitatis
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• v.2 no.1
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• pp.131-151
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• 2002

Park Dujin has written the nature poems through his keen sense for light and the emotion of Sinmyeong(the excited and enthusiastic mind) from his early poetry to his later poetry. His poetic emotions, with the periods of his composition of poems, are expressed in the juxtaposition of the waiting for something or the existential agony with the devout faith. But he has pursued tile monistic nature through the emotion of light and Sinmeoung. Therefore all his poems are characterized as the nature poems which expose the artistic wholeness transcending the ideology and spirit of his times. Up to the present, Korean ecological poems have been absorbed in examining and criticizing the crisis for the environmental pollution and the destruction of ecosystem. Therefore Korean ecological poems could not get out of the dualistic ecological consciousness of the opposing environment confronting between man and nature. The ecological peculiarity in Park Dujin's nature poems is not the level of the man-oriented environment or bioecology but the monistic nature which man and nature are unified. This fact can be said to be caused by the approach to the objects on the basis of the sense for light and the emotion of Sinmyeong which perceive the transcendental nature.

• Journal of Fashion Business
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• v.6 no.2
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• pp.137-150
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• 2002

The purpose of this study attempts to analyze the symbolism and fashion image of Barbie doll. It is scarcely a coincidence that the Barbie doll was developed in the united States in 1950s. She had been created in the 1950s as a cartoon character in a German newspaper, who named Bild Lilli. In 1959, toy company bought the rights and produced and almost identical doll in the United States. Therefore Barbie has symbolized the consumer culture of United States, ideal body image, and modern youth culture. It may be as a conclusion that Barbie's fashion can be divided into three period : 1. a period of classic fashion(1959-66), 2. a period of young casual fashion(1967-79), 3. a period of ethnic and career fashion. Just as Barbie's roles and clothes have changed with the spirit of the times, she is a valuable representation of female images and fashion over the last 40 years. Barbie's fashion image is divided into material girl image, dream girl image, and bad girl image.

• Journal of the Korea Fashion and Costume Design Association
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• v.9 no.2
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• pp.139-154
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• 2007

Wellbeing means the new life style leading a rich and nice life in which body and spirit is combined organically, and influence of wellbeing culture extends throughout the society. The purpose of this study is to analyze the aesthetic characteristics of Korean wellbeing fashion. Fashion photographs from leading monthly fashion magazines from 2001 to 2005 were analyzed. The styles and materials and colors were examined from 1,151 wellbeing fashion designs that is based on wellbeing culture. The major conclusions of the study are as follows : 1. The styles of wellbeing fashion in Korea include sportive, ecology, ethnic, retro styles in order. 2. Wellbeing fashion in Korea increased double in 2005 compared to 2001. Not least, sportive style and ethnic style rapidly increased. 3. Materials of wellbeing fashion in Korea include cottons, wools, chemical fibers, silks, jutes, functional fibers in order. Particularly the use of cottons in 2005 increased three times compared to 2001. 4. Of wellbeing fashion colors, yellow in bright tone were present the most, followed by white, red, black, green, blue, grey in order. Natural colors, vivid colors, pastel tone colors were used.

• Asian Pacific Journal of Cancer Prevention
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• v.13 no.10
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• pp.5313-5318
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• 2012

Psycho-educational interventions are not a substitute for analgesics, but they may serve as adjuvant therapy. Nurses can provide psychoeducational programmes to cancer patients to assist them in optimizing behavior that strengthen adjustment. The aim here was to determine the effects of psychoeducation on levels of adjustment to cancer in stage I-II breast cancer patients who met the study criteria (experimental group: 38 women, control group:38 women). The psychoeducational program consisted of eight 90 minute weekly sessions and data were collected using a questionnaire and the Mental Adjustment to Cancer Scale three times: before, six weeks and six months after the intervention. Data analysis was performed using descriptive statistical methods as well as the Chi square test, the Mann Whitney U test, repeated measures analysis of variance, the matched pairs t test and the Post Hoc Bonferroni test. The results at 6 weeks and 6 months after the program revealed that the experimental group had higher levels of "fighting spirit", lower levels of "helplessness/hopelessness, anxious preoccupation and fatalism" but there was no significant change in levels of "avoidance/denial" compared to the control group with regard to adjustment to cancer. In this study, psychoeducation was shown to cause positive changes in levels of adjustment to cancer in breast cancer patients

• Journal of the Architectural Institute of Korea Planning & Design
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• v.36 no.3
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• pp.79-90
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• 2020

This study traces the flow of modern museum architecture from the 18th to 19th century when the rationalist architectural spirit influenced the museum architecture to the 1930s, before the museums of the modern architectural masters appeared. With early modern museums until the 1930s as a target, which had long been enshrined in classicality, finally contributed to narrowing the gap with the times, but did not receive the right evaluation, this study examines their different architectural styles from previous museums and reveals that they have a significance to announce the departure of modern museums beyond classical ones. The three museums, built in the 1930s, will be identified as respectable early modern museums that will fill the remaining blank space of the history of museum architecture. In this study, modern museums are asymmetric, non-centre oriented, and non decorative. They have multi-directional circulation, and a neutral, open and flexible exhibition space. They also try to align themselves with the modern architectural tendency of the day.