• The Korean Nurse
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• v.19 no.2 s.105
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• pp.19-21
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• 1980

• The Korean Nurse
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• v.19 no.2 s.105
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• pp.10-14
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• 1980

• The Korean Nurse
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• v.19 no.2 s.105
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• pp.14-17
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• 1980

• The Research Journal of the Costume Culture
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• v.19 no.6
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• pp.1259-1271
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• 2011

This study investigates and compares the changes of naturalism in fashion presented over a 30-year period to understand the diversity of naturalism in fashion. Data were collected from 59 volumes of the "Vogue" magazine for January and July in each year from 1980 to 2009. The data used for content analysis consists of 440 words and these were condensed into three periods according to decade(1980~1989, 1990~1999, and 2000~2009). The selected words were classified into four sub-themes according to the previous research definitions such as primitive look, natural look, eco look and handcrafted look. The results are as follows. First, naturalism of fashion was highly presented in the 1980s but the percentages of naturalism in three decades were all more or less similar. Especially, natural look appeared more in the 1980s and eco look was in the 1990s, while natural look, eco look and handcrafted look were found all together in the 2000s. Second, naturalism of fashion showed higher frequency of F/W seasons in the 1990s, while S/S seasons in the 1990s and 2000s. In particular, natural look was presented more at S/S seasons. The sub-themes coexistence were presented in the 24 seasons out of 59 seasons and showed more variously in the 2000s. Third, the words selected from sub-themes of naturalism in fashion demonstrated the differences by decade.

• The Journal of Fisheries Business Administration
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• v.12 no.1
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• pp.53-75
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• 1981

• Journal of the Korean Society of Costume
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• v.25
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• pp.21-39
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• 1995

By 1980, there are two main flows in the world fashion. One is the traditional Paris fashion by Houte Couture, and the other is the American casual fashion by mass production. However, the appearance of Japanese designers and their new styles on the stage of Paris fashion have had a strong influence on the change of the world fashion since 1980s. So, the purposes of this study were first to research the process, the background and the power which let the Japanese stand and suc-ceed in the stage of Paris fashion, second to research on the Fashion World and Fashion Trend from the beginning of 1980s to present (1994). The results were as follow ; Hanae Mori and Kenzo were the pioneers who let the West know the existence and the level of Japanese fashion. Issey Miyake was the new innovator in the 20th century Fashion. and became the foundation of the New Wave Fashion in 1980s. Rei kawakubo completed the philosophy of beauty by the imperfection and has led the Postmodernism in the Fashion. The constant efforts of the these Japanese designers have inspired the orientalism and Art-to Wear, showed up the new construction and material in clothing by layering and drap-ing and stimulated the traditional Paris fashion to become popular, casual and diverse. The success of Japanese designers and the boom of Japanese fashion were not only the effort of individuality but also the power of economics, the spirit of cooperation and the affection to the culture and tradition on the background. The New Wave fashion by Japanese designers in the beginning of 1980s have promoted the appearance of Avant-garde fashion in London, the new fashion spirit in Milano, and the various fashion styles of different sections in the West and East. Finally, it becomes popular in 1990s and leads the fashion spirit in the end of 20th century.

• The Journal of Art Theory & Practice
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• no.7
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• pp.7-36
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• 2009

This paper intends to examine the significance of the "Minjoong Misool(People's art)" of the 1980s emerged in Korea in its social, cultural, and art historical context. This paper also aims to provide an analysis of the meaning and form of the individual artist's works, which have been overlooked under the dominant discourse that has emphasized their political role as a collective group. In particular, this paper scrutinizes the work of "Critical Realists" by examining the way in which they perceived Korean society in the early 1980s and visualized their experiences of the period. The figurative art newly emerged in the early 1980s challenged the formalist Modernism, which was adopted into Korea and translated into monochrome paintings and the work of the conversative academicism of the 1970s. The figurative art encouraged a social communication and moreover it intended to criticize the conflicts in the political, economical, and social domains in Korea. The targets of its critique include the unavoidable results of the unprecedented development of economy, various social phenomena of the post-industrial society, and the growth of the commercialized kitsch culture. Along with Shin, Hak-chul's work that incorporates collage technique since the 1980s, the work of some members of "Reality and Utterance" and "Im- sul-nyun" exemplify their critical interests in disclosing the false dream of wealth and happiness by both referring to and drawing on the utopian fantasy manipulated and distributed by mass media and commercial advertisements. This paper pays particular attention to Nouvelle Figuration emerged in France and Europe during the 1960s, which is comparable to the new figurative art emerged in Korea during the 1980s. Nouvelle Figuration criticized the autonomy in art isolated itself from political and social reality after WWII, in particular the indifference of Informel and abstract art as well as American abstract art. Moreover it became rather politicized around May of 1968. Given that French Nouvelle Figuration was introduced in Korea in 1982 and made a significant contribution to the formation of figurative art in Korea, it should be noted that the new figurative art emerged in the 1980s in Korea cannot be categorized merely in relation to People's Art. This paper intends to critically redress the notion that People's art was formed in the particular political, economical, and cultural context of Korea independent of the contemporary artistic practices outside Korea. It will provide a critical examination and analysis of the content and form of the new figurative art, from which People's Art was germinated, in the global context.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.315-347
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• 2019

(1986) and (1987) represent the society of 1980s in which the professional baseball game was initiated to cover the irrational military culture. The love and marriage of sports players were the headlines of the media, and the yearly salary of the players was the hottest issue of conversation. The military culture is represented in the scenes where the coaches train the failures and inapt players in extreme drills. The films pinpoint the absurdity of military culture and win-at-all-costs mentality. The collapse of the dictatorial leadership at the end of the films is a metaphor for the collapse of the fifth Republic of Korea. The episodes where the players talk about contract money, and the trade of players and sports business were a new phenomenon of the 1980's. The fact that Oh Hyesung of chooses love instead of victory deals a big blow to the secular ambition for money, victory and dictatorial leadership. His option provides catharsis for an audience oppressed under military leadership and success driven ideology. On the other hand, Oh Hyesung of dies right at the moment of winning the world champion. He achieves neither love nor success. While Oh Hyesung of is a symbol of pure love and gives spiritual comfort to the audience, Oh Hyesung of gives a sense of hopelessness to the audience. Both of the two sports films reflect the representation of the 1980's but received opposing reviews from audiences.

• Journal of Popular Narrative
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• v.25 no.3
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• pp.41-66
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• 2019

This paper looks at the readers and publishing strategies of paperback romance novels in the the 1980s based on the 'high-teen' concept. The purpose of this article is to examine the meaning the 'high-teen' concepts as expressed in the media through the publication of paperback romance series in the 1980s. Among paperback romance series, this paper was based on pirated/licensed version of novels published by Harlequin, a Canadian publisher, and the magazine media's advertising promotional phrases that were published targeting the same readers. Since the 1970s, mass media have referred to teenagers as high-teens and called them important consumers. High-teen was a term referring to teenagers in school uniforms, mostly girls, and in the 1980s, 'high-teen' was also introduced as a new consumer market, and the publishing market put forward a number of publishing strategies to attract them. The paperback romance, including , has identified 'high-teen' readers as late-teen girls, sensitive consumers for best-sellers/million-sellers, readers with a tendency to read stories of love, and readers that favor American and Western culture. Since the 1980s, the market for paperback romance has been in the recession, but readers have kept the romance genre alive by accepting and localizing the Harlequin series. With the rise of a new form of media called the 'Web Novel', interest in the romance genre is increasing, and we hope this study will serve as a starting point for a variety of discussions with (women) readers about romance reading/enjoyment.

• The Korean Nurse
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• v.19 no.2 s.105
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• pp.17-18
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• 1980