• 패션비즈니스
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• 제20권1호
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• pp.157-172
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• 2016

The purpose of this thesis was to investigate the transitional aspects of the power shoulders with a comparative analysis of the patterns observed from the late 20th century to the present. The method of study was through review of papers as well as phenomenological approaches. Books, domestic and international journals, and dissertations were studied as part of the paper review. Phenomenological study was performed by analyzing the pictures from late 20th to present; and categorized by 10 year time span i. e., 1980-1990, and 2002-2012. Hundred representative fashion photos were selected, respectively. As a result, the power shoulder found in late 20 centuries was largely limited to horizontal and diagonal shape, addressed mainly to the jackets; while they were straight, and wide shouldered, with emphasis on masculine style. On the other hand, in early 21 century, the power shoulder was applied in various forms of straight, diagonal, circular and ornamental with objects, not only to the jackets, but also to feminine styles such as one-piece dress, vest, and blouse. This finding may be attributed to the fact that the modern people desire newer trends and women tend to show off their ability in transcending those of men. The findings of analysis of the transitional aspects of power shoulder in this thesis might contribute as basic resources for anticipating the trends that might be revived in the future.

• 한국의류학회지
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• 제18권1호
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• pp.140-159
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• 1994

Heraldry, which originated from the culture of knights in the 12th century, came to be drawn on shields, and was inherited as a symbol of the family at the end of the 12th century and developed rapidly through the 13th and 14th century. Afterwards heraldry was in great vogue and used in the shields, clothes of men and women, armors, housings and flags. Therefore the citizen class as well as nobles and knights came to possess heraldry. In particular parti-color and impaled coat were accepted in the clothes, and served the dual purpose of status symbol and ornament in the 13th century. It can be said that the appearance of heraldry on the clothes was typical of the Middle Ages. The origin, generally accepted, was that the crusaders wore the surcots, also known as the cyclases, on the armors to prevent the powerful sun of Syria and dust of deserts, and to prevent the armors from rusting due to moisture. As the surcot was made of white linen or white silk till the beginning of the 13th century, knight's heraldry came to be put on the surcot in order to identify each corps. According as the coat of mail covering all the body was devised, the same heraldry attached on the shield seemed to appear on the clothes of surcot or jupon(afterwards pourpoint) in order to identify the status in the battlefield and tournament. Heraldry, a system of mark in the 12th century, was used as a symbol of authority of the upper class such as the Royal House, nobles and knights, and may have been mysterious instruments in the Milddle Ages. However, in the modern times of the 20th century heraldry has come to be a kind of symbol marks such as badges and banners symbolizing the hallmark of the goods of enterprises, organizations and groups. Heraldry, existing up to now, of the individuals as well as international organizations can be seen as a result of deep-rooted tradition for esthetic appreciation and symbolism for heraldry.

• 조형예술학연구
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• 제1권
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• pp.189-226
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• 1999

The purpose of this paper is to examine the common characteristics of late 20th century interior design style and the post-modern thinking system. A period has its own predominant spirit which determine the tendency of art, and the ubiquitous power in the spirit decides the period's pattern of art. Therefore the interior design style belongs to general art sphere that has its own individual character derived from the dominant power of the controlling system. Paying special attention to this understanding, the auther has processed this paper by combining the post-modem thinking with special characteristics of each of the 20th century interior design style. Until now, researches have been focused on the individual style of post-modern design; however, a general research comprising the whole characteristics of expression has not been made. Accordingly, the rationale of emphasizing the general point of view is establshed. Also, this study suggests a model applicable to studies concerning other art area. This type of methodology is receving more attention as an approach investigating new art ideology for researching post-modern thinking and late 20th century art styles. The conclusions are as follows: First, the distinctive expressions of postmodernism appear to be characteristic of illusion, metaphor, pluralism, decoration, and symmetry, Those of late modernism appear to be the characteristic of complicated simplicity and symplified complexity, passiveness of symbolism and harmony, indeterminacy of form and space, and unintentional decorativeness. And the characteristics of deconstructionism are spatial difference and temporal defferal, and un-reductive and non formal abstractiveness of the space, unfinishness, chance, and secretiveness of individual style. Second, the disinctive expression seems to share common characteristics with postmodern thinking. The best examples are pluralism, non-formalism, populism, and historicism, originating from the deconstruction of 'meta-narrative'. Third, based on the second conclusion, general distinctive expression could be simplified as chacteristics of plurality, hybridity, and indeterminacy. These expressive chacteristics appear to be automatically connected with general postmodern thinking. Last, in consideration of the above conclusion, the extreme generality could be distinctively clarified as 'textural co-exsistence'. Accordingly, the author might confirm that 'textural co-existence' originated from the text that comes from postmodern thinking. In conclusion, design expression of late 20th century interior design accepts the ?universal theme of ubiquitous postmodern thinking. And universal expressions and supreme generality can be common analysis tools for understanding and studying complicated late 20th century interior design.

• 농업생명과학연구
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• 제45권6호
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• pp.21-32
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• 2011

본 연구는 20세기 초기의 서양 흔들의자를 분석하여 조형적, 실용적 관점에서 양식적 특징을 학문적으로 규명하고, 오늘날 우리나라 흔들의자의 설계 및 제작의 기초자료를 제공하는 것에 목적이 있다. 20세기 전반의 서양 흔들의자(1925~1945년 제작)는 형태가 기능을 따라야 한다는 단순한 기능주의의 이념을 적극적으로 표현하였다. 원목을 활용한 흔들의자는 표면장식을 배제하였고, 강철관 프레임의 흔들의자는 검정색 가죽의 업홀스터리를 즐겨 사용하면서 노출된 구조미를 대담하게 표현하였다. 또 강철관을 통하여 가구의 경량화가 이루어졌고 곡선미 있는 새로운 양식이 출현하였다. 근대 흔들의자의 구조는 양식과 기능적 이유에서 모두 중요하게 되었다. 디자이너들은 강철관과 목재 프레임의 노출된 구조를 통합성 및 합리성과 결부 시켜 디자인의 평등주의 스타일을 만들어냈다. 특히 이 시기에는 밝고 대담한 색상의 업홀스터리와 목재 프레임으로 구성된 흔들의자가 근대적 특징의 단순한 형태로 다양하게 표현되었다.

• 보존과학회지
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• 제35권2호
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• pp.169-176
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• 2019

국립민속박물관에서 소장하고 있는 19세기 말~20세기 여성용 쓰개에 사용된 장식 19점에 대하여 SEM-EDS로 조성을 분석하였다. 쓰개 장식 16점은 융제 성분인 $Na_2O$와 PbO를 함유하고 있어 한국의 고대부터 출토되거나 전승되어온 납유리와 조성이 다른 유형의 납유리였다. 쓰개 장식 2점은 $Na_2O$와 $K_2O$가 3% 혹은 5% 이상 함유한 알칼리혼합유리, 1점은 CaO를 5% 이상 함유한 포타쉬유리 III형으로 분류되었다. 이 중 납유리는 일제강점기 조선에 수입된 일본의 공예용 납유리와 조성이 유사하여, 19세기 말~20세기 여성용 쓰개 중 납유리를 사용한 장식은 원료를 일본에서 수입하였거나 조선 내 일본인 기술로 생산한 공예용 납유리로 제작된 것으로 추정된다. 이를 통해 근현대에 들어서 전통적으로 사용되어온 쓰개 장식의 사용된 옥이나 호박과 같은 보석이 일본에서 수입된 공예용 납유리로 대체되어 새롭게 사용되었음을 보여주고 있다.

• 복식
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• 제51권7호
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• pp.21-33
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• 2001

The purpose of this study is to Investigate the value of multi-culture and to examine how multi-culture has been reflected in men's fashion. As for the research methodology, literary research was under taken to study psychoanalytical and socioeconomic contexts in which multi-culture in men's fashion has been formed. In addition, demonstrative studies on styles were undertaken through the analysis of pictures and photos. The historical range of this study is from the 19th century when western and modern original form of men's dress were visualized, to the year 2001 when the elements of multi-culture are expressed in men's fashion. Westerners in 19th century respected Greek fine arts and the desire for realistic restoration of the body of Greek hero is well reflected in men's suits. Other races were forced to believe such realistic depiction of the Greek body as a symbol of modernization. With the advent of the Information Society In the late 20th century, absolute power had been decentralized, and people in the third world have revealed the racial contradictions by realizing the concept of splitted subject existing In unconscious. In the post-colonial world in the late 20th century, the value of diverse cultures is admitted. Models come from various races in fine art or photographic work Fashion trends are no longer limited to dominant mode, and designers express multi-culture by adopting and renewing folk elements from all over the world.

• 한국실내디자인학회논문집
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• 제14호
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• pp.90-98
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• 1998

At the threshold of the 21st century People have been exploring the future of each field. Accordingly In the area of housing the increase in income level and high-technology development facilitated full scale research on the future housing. The purpose of this research is to try to set up a systematic theory on the future housing by investigating theoretical backgrounds of the future housing and development of the future housing planning concept, A document research method was used to analyze the development of the future housing planning concept of three periods from its origin in the 19th century to present : the burgeoning period growing period and maturing period. In particulary this research examines development of the future housing planning concept from the 19th century in which future housing planning concept was emerged to the early part of the 20th century: the burgeoning period. The future housing planning concepts of this period are analyzed as follows ; In order to solve the social problems arising in the process of the Industrial Revolution, the concept such as ; "ideal city", "high rise apartment housing" and "industrialized housing" was formulated. housing" was formulated.ated.

• 수완나부미
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• 제9권1호
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• pp.109-132
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• 2017

This article is about the emergence of Islamic modernism among Cham Muslim communities in Cambodia and Cochinchina during the early 20th century. Based on a combined critical reading of existing scholarship, historicized first-hand anthropological accounts, as well as archival sources from the National Archives of Cambodia and the Vietnam National Archives II, it argues accounts of modernists in these sources were either (1) cast through a French colonial reading of a Buddhist state lens and (2) cast through a Malay lens, based upon the Kaum Muda/Kaum Tua divide. First, it proceeds with a historical explanation of the emergence of Islam and the discourse used to describe Muslim communities in Vietnamese, French, and Cham language sources. Then, it turns the narrative toward an examination of the emergence of the "Kaum Muda" or "New Group" of reformist-minded modernist Muslims in early 20th century Cambodia. Delineating the networks of these intellectuals as they stretched across the border through Cochinchina, also highlights a pre-existing transnational element to the community, one that well predates current discussions of twenty-first-century transnationalism. Through a combination of the study of multiple language sources and historical methods, the article highlights the importance of polylingualism in the study of the history of Muslims in Southeast Asia.

• 한국과학교육학회지
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• 제19권3호
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• pp.409-427
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• 1999

본 논문의 목표는 영국의 과학교육이라는 맥락 속에서 STS교육과 관련된 아이디어의 역사적 발전과정을 - 특히, 19세기와 20세기 전반 동안 - 살펴보는 것이다. STS교육은 구성주의와 함께 20세기 후반의 세계 과학교육을 특징짓는 양대 패러다임으로 간주되고 있다. 그리고 많은 사람들은 STS교육의 역사를 Science in Society 와 SISCON 이 개발되었던 1980년대 이후를 중심으로만 생각하는 경향이 있다. 하지만, 영국에서 STS교육과 관련하여 생각해 볼 수 있는 최초의 움직임으로는 19세기 초반의 노동자를 대상으로 과학의 기초 내용과 그 응용적 측면을 교육하고자 하였던 '노동자학교' 운동과 초등학교에서 '일상사물의 과학' 을 활발히 교육하였던 Dawes 등의 활동을 들 수 있겠다. 19세기 중반을 지나면서, 이러한 움직임은 초등학교의 '실물학습'이라는 교과를 통해 이어지게 되는데, 그 시기 동안 학교 과학 과목들은 정식으로 교육과정에 포함되고 이 과정에서 과학은 점차 순수 학문적이고 전문가 양성을 위한 준비과정으로 그 성격이 확립되게 되었다. 20세기에 접어들면서 이러한 협소한 관점의 학교 과학교육에 대한 비판과 반성이 점차 제기되었고, 특히 제 1차 세계대전의 경험을 통해 일반인 전체를 대상으로 하는 과학과 사회의 관계에 대한 교육의 필요성이 점차 널리 인식되게 되었다. 이러한 배경에서 1920-40년대 영국에서는 '일반과학'과 '시민과학'의 운동이 활발하게 전개되었으며, 이중에서 특히 '시민과학' 운동의 일환이었던 Hogben의 Science for the Citizen의 집필은 대표적인 STS교육의 사례라고 할 수 있겠다. 20세기 중반까지의 영국의 과학교육사는 기본적으로 학교 과학교육이 실용성과 학문성. 전문가양성과 일반 교육, 정신훈련과 과학지식교육, 개별과학과 일반과학 등 과학교육의 목표와 기능에 대한 상치되는 관점들 간의 투쟁의 단면들임을 보여주고 있다.

• 복식문화연구
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• 제25권2호
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• pp.159-174
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• 2017

The study uses lists of wedding gifts used from old Korean documents written in Hangeul in the western Gyungnam province during the 20th century. The study analyzed four lists of wedding gifts from the Muncheongak archive and two lists from the archive of ancient document. This analysis found that clothing accounts for the majority of the items in the lists, and items such as furniture, jewelry, household goods, and medical materials were also recorded. That the furnishings were commonly prepared by the groom's side, and the fact that the number of jeogori was higher than the number of skirt, speaks to the unique wedding custom of Gyeongsang province. While the groom's list of wedding gifts included a record of the bride's ornaments, jewelry, and furnishings in the bride's list, the groom's nickel top-knot pin was only included as an ornament. In the list of wedding gifts between brothers, the gifts for the eldest son differed from those for the third son in terms of number and price. The list of wedding gifts between father and son illustrates how economic development and changing times wedding custom. The lists of wedding gifts in the old Korean documents shed light on the oral research into 20th century wedding custom, which will be used as basic data in researching and reproducting the wedding culture and life conditions of the time.