• Publications of The Korean Astronomical Society
• /
• v.1 no.1
• /
• pp.21-37
• /
• 1984

The origin of five small satellites (1980 S1, 1980 S3, 1980 S26, 1980 S27 and 1980 S28) and F-ring of Saturn which were recently discovered inside the orbit of Mimas, is proposed in terms of the resonant effects by external satellites in the Saturnian primordial extended ring. From the calculations of resonance locations and strengths, the following conclusion could be derived. Assuming that present two objects 1980 S1 and 1980 S3 were originally a single object 1980 S1+S3, 1980 S1+S3 had been formed due to Enceladus' 2/1 resonance and 1980 S26 due to Mimas' 3/2 resonance at first and then 1980 S28. 1980 S27 and F-ring were formed in the next due to 1980 S1+S3's 8/7, 9/8 and 10/9 resonances, respectively.

• Journal of the Korean Society of Costume
• /
• v.41
• /
• pp.117-138
• /
• 1998

This study can be divied into three major sections: 1. Background on the 1980s : The 1980s can be characterized as a era of rising expectations over the quality of life. Interest in art, history, culture, and new technology increased to appeal to a greater audience. In fashion, these changes led to greater focus on quality and unique stylishness as fashion represented a medium through which luxury and refined tastes could be expressed. 2. Textile Trends of the 80s Divided into 4 Periods : The period of 1980-82 saw the mixture of natural lines with constructive lines. The textiles used in fashions in this period can be characterized by natural materials, mannish materials of the 1950s, feminine materials of the 1920s and 30s, and spoty materials of the 1960s. The period of 1983-85 was an avante garde period which used rustic avante-garde materials and art craft materials. The period of 1986-87 can be described as minimalistic and neo-classical which incorporated materials which represents a metropolitan feel, retro decorative materials and sporty, futuristic mat-erials. Lastly, the period of 1988-89 produced ethnic and natural fashions which relied on traditional British materials, country elegant and innocent look fabrics, ethinic and ecology-minded materials, in addition to comfortable and sports casual materials. 3. Characteristrics and methods of expression for textiles in the 1980s, : In the 1980s, the development of textiles have can be divided into 4 distinct patterns: decorative materials, sporty materials. In generals textiles have increased in their decorative nature-especially decoration by texure. Textile have also incorporated the mixture of contrasting themes in order to create new fabrics.

• Journal of Fashion Business
• /
• v.15 no.1
• /
• pp.171-184
• /
• 2011

This paper is purposed to clarify that an increase of the matter of concern about men's fashion in the mid-1980s was coincided with rapid change of images for men and diversification within the context of economy, society, culture and to analyze the characteristic of each fashion and the meaning. Findings are as follows: 'New men' played a key role creating and communicating the new male image through the media, as a new masculine appeared in the middle of 1980s. Especially it was spreaded into with British as a center between the generations of young men described as a white-collar worker about the ages from 18 to 35 specifically and appeared by the cultural background in accordance with the spread of consumerism, materialism and post modern feminism and the development of men's fashion. There were 2 types of fashion styles for 'New men' image on the media in the mid-1980s. The First is 'power suit look style' which is self-conscious, including 'corporate formal suit look' and 'soft & sexy suit look'. The Second is 'extravagant body conscious style' which characterize the decolletage and androgynous, including 'tough sports look' and 'sexy skirt look'. Lastly, the 'New men' image means a man as a visible object and a man in the image world.

• Korean journal of communication and information
• /
• v.77
• /
• pp.164-199
• /
• 2016

This study analyzes the socio-economical contexts of Japan's Karaoke inflow in Busan of the 1980s, and examines the relationship between Karaoke culture of the 1980s and 'Noraebang' culture of the early 1990s in Busan from the perspective of the SCOT(social construction of technology) theory. By the end of 1970s, Japan's Karaoke was introduced under the contexts of structural transformations of a geisha tourism in the East Asian regions. Karaoke culture in Busan of the 1970s and 1980s has formulated social recognitions of the novelty of Noraebang culture in the 1990s, although it has done so through the ways of misunderstandings and Nationalism.

• Journal of the Korean Society of Costume
• /
• v.54 no.6
• /
• pp.119-130
• /
• 2004

The purpose of this study was to analyze the characteristics of 1980s' oversize fashion. Especially in 1980s, there were some characteristics that the leading style did not exist as the other decades, but instead of that, various styles coexisted and the existing traditional rule of fashion was destroyed. On the basis of such background, the moulding nature resident in oversize fashion is considered and analyzed as follows. Firstly, 1980s is the time of power suit booming and through such clothes, women disclosed their consciousness that they want to be equal with men. Secondly, In contrast to that a shoulder pad was the trademark of 1980s' clothes, the social aspect that Japanese designers' clothes of layered look and them of grunge look coexisted is directly expressed through these oversize clothes. Thirdly, In 1980s of the time that people's interest to health risen, sports wear was developed to be everyday wear and furthermore, it had variously influences on high fashion so that developed to big look. Fourthly, when it comes to 1980s' clothes, the atmosphere of society denying apparent boundary between sex at that time was resident in androgynous look and the folklore image of sexless style by their appearance in oversize fashion. What is this situation that the style of the past time is popular in the 21st century even such intentional spirit of challenge already passed？ Maybe for women, the one way of expressing themselves is through their clothes, and for such reason, it can be considered that the social meaning resident in 1980s' clothes is re-examined in the present age.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.34 no.5
• /
• pp.726-739
• /
• 2010

This study investigates and compares the changes in ethnic fashion presented over a 30-year period to understand the diversity of ethnic trends according to historical trends. Data were collected from 59 volumes of "Vogue" magazine for January and July in each year from 1980 to 2009. The data used for content analysis consists of 407 words and these were condensed into three periods according to the decade (1980-1989, 1990-1999, and 2000-2009). The selected words were classified into five sub-themes according to previous research definitions such as Asian look, European look, American look, African look, and Oceanic look. The results are as follows. First, ethnic fashion was highly presented in the 1990s and 1980s, and decreased in the 2000s; of note is that the Asian look appeared more in the 1990s. Second, ethnic fashion showed a higher frequency of F/W seasons in the 1980s and S/S seasons in the 2000s, while both seasons had a higher frequency in the 1990s. The sub-themes of coexistence were presented 26seasons out of 59 seasons. The coexistence of the Asian-European look was evident in the 1980s and 2000s, while the sub-themes coexistence was more diverse in the 1990s. Third, the words selected from sub-themes of ethnic fashion demonstrated the differences by decade. In particular, various fabrics and patterns appeared in the 1990s.

• The Journal of the Korea Contents Association
• /
• v.16 no.5
• /
• pp.172-179
• /
• 2016

Korea society in the 1980s is the timing of the hybrid intermingled with the continuous industrialization in the 1970s and the democratic aspirations of the 1990s. Korean films in the '80s codified a tension and conflict patterns of the industrialization and democratization in the style such as film space. The purpose of this study is to consider how this aspect of industrialization and democratization in the '80s was codified in Korean films of the '80s. Specifically, it focuses on the style representing the urban space in Korean films of the '80s. This study looks at the changing pattern of the Korea Society through the 1980s by analyzing the space configuration form of Good Windy Day(1980) and Chil-su And Man-su(1988). Good Windy Day to finalize the '70s and Chil-su And Man-su to greet the '90s show the hybrid aspect of the '80s. In particular, the urban space style of the two films codified the political, economic and social culture of Korea as a whole.

• Convergence Security Journal
• /
• v.16 no.6_2
• /
• pp.43-51
• /
• 2016

In the 1980s, private security was established in the framework of institutional framework with the Security Industry Act which was enacted in 1976. The agents who brought in the development of the private sector in 1980 enjoyed a boom in the global economy, affected by its high-flying dollar value, low international interest rate, low oil prices, and the blooming economy. In addition, the semiconductor, computers and communications equipment that was promoted in accordance with the e-Literacy plan were raised. Following the economic development of various events such as Seoul International Trade Fair, "86 Asian Games," and "88 Seoul Olympic Games," private security expenses were enhanced by increasing awareness of civilian expenses. Also, in the 1980s, Korean investment in foreign companies, including Japan's Secom, or Korean technology, brought many changes to the private security. Meanwhile, the cost of security, which has been centered around human expenses, has brought about the era of mechanized spending, or machine security expenses. The purpose of this study is to systematically analyze the social environment surrounding the private security in the 1980s and systematically analyze the important factors that contribute to private security.

• Journal of the Korean Home Economics Association
• /
• v.44 no.12
• /
• pp.117-126
• /
• 2006

A movie's fashion style delivers the overall atmosphere of the scene including the characters's class, personality, spiritual world and inner thinking and even their conflicts in the story. The movie 'American Psycho' directed by Mary Harron and based on from Bret Easton Ellis's original novel ridicules the American yuppie culture of the 1980's through the behavior of the hero Patrick Bateman. The life style of the yuppie sees itself as the high-class embodiment of a particular culture, but the various subcultures such as Glam and Punk show that it is merely a two-faced culture suffering from hypocrisy and mammonism. An analysis of the costumes found in the movie indicated an exhibition of the 1980's Haute Couture fashion, which was mainly occupied by the mainstream social class and of the social phenomenon of post-modernism. The anti-fashion presented in the movie as the resistance culture formed by the subculture was in extreme contrast with the expression of self-actualization.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.42 no.1
• /
• pp.26-39
• /
• 2018

This study analyzed fashion taste changes for middle-aged men (40-50s) from the 1960s-1980s through newspapers evaluated as socially influential media. As a result, the fashion interest of middle-aged men in the 1960s was very low, and the formation and selection of fashion taste was mainly decided by the wife. However, as the interest in fashion and fashion gradually increased in the 1970s, the interest and taste of fashion in middle-aged men started to change. In the 1980s, social equality and women's advancement into society began, and initiated the appearance of a youthful-looking casual style and establishing an individual subjectivity about fashion taste. Based on this, the specificity of the change of fashion taste among Korean middle-aged men in the 1960s-1980s were as follows. First, the changes in the aesthetic sense of middle-aged men and the increase of fashion interest were due to changes in socio-cultural appearance standards. Second, there was an increase in the pursuit of individuality due to the weakening of fashion consciousness as a collective norm. Third, there were change in subjectivity about fashion taste and consumption.