• Journal of English Language & Literature
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• v.54 no.4
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• pp.531-560
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• 2008

I hope to demonstrate in this paper the degree to which the works of Leonard and Virginia Woolf, mainly The Wise Virgins, The Village in the Jungle, and The Voyage Out, are contained within the politics of home. In doing so, I aim to challenge some mainstream criticism that affirms their resistance to British imperial desire. Although their statuses as outsiders in the British Empire, being a Jew and being a woman respectively, allowed Leonard and Virginia Woolf to criticize British imperialism and a male-dominated culture as well as racial and cultural hierarchies to a degree, their works inevitably unveil their prioritization of the British white-oriented space. In some ways their authorial positions in relation to their texts uphold the imperial center as an invisible regime of truth in their narratives, supporting the patriarchal and imperial binary oppositional structure and its hierarchical order imposed not only on the British subject but also on the foreign, colonial others. Leonard's and Virginia's inconsistencies and ambiguities betray their racial distantiation and notions of British white superiority, as disclosed in their racially stereotyped descriptions and the absence of real communication between the British characters and the colonial, foreign others. The work of self-repetition, the major mechanism in the politics of home, dies hard in Leonard's and Virginia's 'antiimperial' works. Leonard's and Virginia's struggle to stand against the imperial desire needs a genuine ethical position in order to embrace the Other, which would allow us to explore further and guard against the pitfall of postcolonial criticism's being easily degenerated into a neo-colonial criticism, another politics of home.

• International Journal of High-Rise Buildings
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• v.8 no.2
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• pp.107-116
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• 2019

The use of computational fluid dynamics (CFD) is becoming an increasingly popular means to model wind flows in and around buildings. The first published application of CFD to both indoor and outdoor building airflows was in the 1970's. Since then, CFD usage has expanded to include different aspects of building design. Wind tunnel testing (WTT) on buildings for wind loads goes back as far as 1908. Gustave Eiffel built a pair of wind tunnels in 1908 and 1912. Using these he published wind loads on an aircraft hangar in 1919 as cited in Hoerner (1965 - page 74). The second of these wind tunnels is still in use today for tests including building design ($Damljanovi{\acute{c}}$, 2012). The Empire State Building was tested in 1933 in smooth flow - see Baskaran (1993). The World Trade Center Twin Towers in New York City were wind tunnel tested in the mid-sixties for both wind loads, at Colorado State University (CSU) and the [US] National Physical Laboratory (NPL), as well as pedestrian level winds (PLW) at the University of Western Ontario (UWO) - Baskaran (1993). Since then, the understanding of the planetary boundary layer, recognition of the structures of turbulent wakes, instrumentation, methodologies and analysis have been continuously refined. There is a drive to replace WTT with computational methods, with the rationale that CFD is quicker, less expensive and gives more information and control to the architects. However, there is little information available to building owners and architects on the limitations of CFD for flows around buildings and communities. Hence building owners, developers, engineers and architects are not aware of the risks they incur by using CFD for different studies, traditionally conducted using wind tunnels. This paper will explain what needs to happen for CFD to replace wind tunnels. Ultimately, we anticipate the reader will come to the same conclusion that we have drawn: both WTT and CFD will continue to play important roles in building and infrastructure design. The most pressing challenge for the design and engineering community is to understand the strengths and limitations of each tool so that they can leverage and exploit the benefits that each offers while adhering to our moral and professional obligation to hold paramount the safety, health, and welfare of the public.

• Journal of architectural history
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• v.2 no.1 s.3
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• pp.54-73
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• 1993

This study focuses on the staffs of the Governmental Organization of Construction who actually led this organization. Two main points of this study are as follows; 1) The composition and appointment of staffs, before and after the Korea-Japan Treaty in 1907, are evaluated, and 2) The working and academic career of each personnel are analyzed in connection with understanding of internal characteristics of this organization. Special attention is given to Korean personel and Japanese engineers who undertook a leading role. Korean engineering staffs were very few in number. It is thought, viewing their records of careers, that almost all of them didn't have any engineering basis, and simply they had some relations to Japan. It is certain that their role in this organization was interpreters using their Japanese language ability, and their roles were only limited to non-technical areas, if any. The early engineers from Japan were selected among the officials with comparatively rich careers of the Temporary Architectural Dept. or the Temporary Engineering Dept. of Custom House in Japan. But, in later days, the quality of Japanese engineers changed to the level of premature without practical experiences who unwillingly came to Korea to have a job under the depression of construction economy of Japan. The academic careers of Japanese engineers were various, from self-taught to regural college education, but the leading engineers were from Tokyo University. The civil engineers became high-level technical officials in the Government-General after the Japanese Annexation of Korea. But, sometimes later, many of the architectural engineers became practicing architect managing design offices on private basis.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.4
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• pp.127-138
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• 2011

The style which is created by grafting the characteristics of goth onto haute couture designer works is called 'Haute goth'. The purpose of this study is to analyze the modem Goth fashion style based on Goth's historical background and characteristics. Also, I investigated the aesthetic characteristics of haute goth style appeared from the work of haute couture designers. Goth means a member of East Germanic people who invaded and settled in the Roman Empire from the 3rd to the 5th century. Goth style had been developed to the medieval European architecture style or the literature style of 18th~19th centuries and later it was reappeared in the gothic band in the late 20th century. Goth fashion shows the characteristics of the medieval times and Victorian times mixed with punk and fetish style. Goth fashion is expressed with the images of fear, darkness, mystique, dandy and eroticism. 'Dark esthetics' is realized through black clothes, pale complexion and silver accessories. Many designers like Alexander McQueen and John Galliano designed 'haute goth fashion' in various ways. The characteristics of 'haute goth' can be summarized in four things. It creates new images, seeks various changes and pursuits newness. It upgrades a street look style gothic fashion to a luxury high fashion and the creative design with artistic value. It also shows an experimental sprit by using a unique shapes, silhouettes, different materials and extreme images or creating new combination through the mismatch of opposite objects or emotions. Although it is rooted in the past because of the influences by late medieval times, Victorian times and Edwardian times, it displays enough of future-oriented historicism designs.

• Journal of Conservation Science
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• v.35 no.4
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• pp.317-329
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• 2019

Slag was collected from the iron-producing furnace site in Saengsoegol, Baegun mountain, where iron was manufactured by a righteous army against Japan in the Gwangyang region; then, the iron-manufacturing technique of the early modern period was investigated through scientific analysis. In the microstructure analysis results of the selected samples, iron bloom was mainly observed together with magnetite and fayalite. In the component analysis results of the compounds, it was confirmed that the furnace was built by using gangue of alkali feldspar or plagioclase series, and the ironmaking work was performed at a high temperature of at least 1050℃, because mullite was identified together with cristobalite and hercynite. Based on the chemical composition, it was speculated that low-grade iron ores were used as raw materials, and it seemed that the yield was low, because the total Fe content of the smelting slag samples was 37.72-49.93%. It was difficult to confirm whether a slag former was used, and it seemed that materials easily obtained nearby were used when the furnace was built, without considering the corrosion resistance. It appeared that the ironmaking work was performed at the Gwangyang Saengsoegol iron-producing furnace based on the direct ironmaking method in an environment that could escape the vigilance of the Japanese Empire to produce weapons that would be used for the resistance against Japan. It seemed that there was neither an advanced ironware production system nor a mass production system, and small-scale works were performed in short periods of time.

• Journal of Science and Technology Studies
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• v.5 no.2 s.10
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• pp.69-95
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• 2005

Eunsa Memorial Science Museum is a political space to justify ruling colony. Japanese imperialism made use of science museum in ruling colony under the cloak of propagating science thoughts. The science museums made it natural to rule the inferior Joseon(Korea) by bring the concept of 'Great Science Empire' into relief. The exhibition, lecture, experiment and science movies propagated those colonial ruling ideology. This transplantation of the colonial science museumraised the following problems. First, the science museum was used as means for the propagation of political power. All the aspects of the architecture, exhibition, and operation of the colonial science museum propagated and supported the direction of political authority, and furthermore planted a rosy phantasm of 'Development' and 'Progression' into the colony. Second, The science technology of science museum was treated as 'Result' and 'Instrument'. Japanese imperialism denied that the science is a historical and cultural staple product; it instilled only the 'Instrumental Rationality' in the colony. Third, the science technology dealt in the colonial science museum was below the level. What they educated and set forth as domestic science was to cultivate the laborers people for the political power by internalizing modernistic discipline.

• Journal of the Economic Geographical Society of Korea
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• v.17 no.4
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• pp.675-687
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• 2014

After colonization by the Japanese Empire, Seoul had experienced structural changes during the 1920s. As the number of residents increased dramatically, the land price of Seoul began to skyrocket, bringing about a new type of real estate developers. They invented a new type of hanok, which is very small compared to a traditional hanok, by dividing a large parcel of land into several small pieces. These hanoks were built by Korean developers who ran their business like modern developers today-acquiring large piece of land, developing and selling the property, and even providing financing schemes to buyers in some cases. However, the Korean developers mainly provided housing to the poor Koreans suffering from housing shortage. At the time, many Koreans worried that the City of Seoul would turn into a Japanese city, since the Japanese were trying to expand their real estate development to the north of Cheonggyecheon. However, their development plans have been neglected, as a result of the development activity of the Korean Jerry-builders in the north. The purpose of this paper is to reevaluate the role of the Korean developers in real estate development during the colonization period, especially in the 1920s.

• Journal of architectural history
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• v.14 no.4 s.44
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• pp.59-72
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• 2005

Architectural embodiment of a national identity has long been a significant topic in Korean architectural circles. For this reason, it must be helpful to examine the so-called, 'National Romanticism' of Finnish architecture around 1900 in that Finnish architects of the time struggled to embody their national identity through their projects. Considering the historical and linguistic affinities between Finland and Korea, the Finnish architectural situation draws . our additional attention. This paper aims at showing its historical background, the meaning of each type of buildings in the stream, and limitations it implies. The atmosphere of Finnish nationalist movement, which was provoked by [Kalevala] publications (1835; 1845) and shown in Karelianism, was heightened by Tsarist Empire's Russification programme of Finland in the late 19th century Architecture was one of the most important genres expressing her national identity. Finnish national romantic architecture could be divided into three. The first is a log house style for artists' studio house, motivated by the Finnish vernacular farmstead - especially by Karelian farmhouse. This type of building signifies the Finns' will to return to their motherly soil. The second is a stone architecture style for public buildings, inspired by Finnish church or castle of an early medieval time. By using roughly-cut granite as the main exterior material, buildings of this type symbolise the toughness of legendary heroes and Finns' desire for national Independence. The third type of building was based on both of the former or more dependent on architects' Imagination and creativity. However, Finnish national romantic architecture has been criticised by some critics owing to its decorative, eclectic and self-indulgent characteristics. Probably, it was not really national but rather inter-national because of the Influences of English Arts and Crafts Movement, the American Richardsonian architecture and the continental Art Nouveau. And the negative images of 'national' and 'romantic' made some historians coin other terms like 'national realism' or 'material realism'. As another limitation, one raises the low degree of its contribution to the entire architectural history. Despite these criticisms, however, this paper argues that Finnish national romantic architecture is meaningful in itself, particularly because it illustrates vividly Finns' struggle to search for their national identity and, after all, their craving for national independence.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.4
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• pp.29-39
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• 2011

The purpose of this study provides a high consumer-oriented wedding dress on the consumer and offering the consumer-oriented product and provide a basis data to develop a wedding shops so it can stable and manage of effective marketing. Wedding shop for a survey of consumer preference, and based on this wedding dress designed and made. The results are summarized as follows. First, when wearing wedding dresses and "graceful and feminine" image that seek to pursue an image that showed the highest response, "simple and stylish", "cute and vivid" image was in order. In the survey of wedding dress preference, lace is preferred, in tone of color white is preferred by and large. In silhouette, A-line is preferred most, in neckline, exposure of the shoulder, in sleeve length, sleeveless, in decoration, beads. Second, on the basis of these results, depending on the image to pursue the design, wedding was made of 3 creations. The work I is a target of the early 20s, the concept "simple and stylish", and A-line is adopted in silhouette focusing on modern simplicity, soft satin material used of high class. The work II is a target of the late 20s, the concept "cut and vivid", and fit-and-flare made of many folded tulle mesh material. The work ill is a target of the 30s overall, the concept "graceful and feminine", and high-waist- empire-line is adopted in silhouette, splendid lace material used, is of the gorgeous and mature beauty.

• Journal of Fashion Business
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• v.24 no.5
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• pp.158-176
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• 2020

The purpose of this study was to examine the cultural diversity in terms of costumes by analyzing the costumes depicted in the early Kushan Dynasty relics, Tillya Tepe. As a research method, literature research and artifact analysis were conducted in parallel. The type of costume worn by the king (or priest) was in the type of a jacket and skirt, which was thought to be of Persian influence. The Greek god of Dionysos was wearing a costume with Danryong (團領) and narrow sleeves, a nomadic type of Central Asia. It could be seen that costumes were transformed into indigenous elements of the region. The shape of the helmet worn by the warrior was a Greek-Macedonian helmet. However, details were transformed into indigenous elements of the Kushan dynasty. The clothing of a nobleman riding a carriage was an element of dress that was observed in Chinese po(袍), and was an unusual element not found in nomadic peoples. There were goddesses wearing Greek robes like Aphrodite in Tillya Tepe's relics. On the other hand, there were goddesses who did not wear Greek chitons like the Greek goddess Athena. Instead, they wore high-waisted robes worn by the Orient goddesses. In addition, after Kushan occupied India, there were Indian elements believed to be expressed by accepting Indian culture. These elements were combined with regional orient elements of the Kushan dynasty, Central Asian elements, and Kushan's own elements. Thus cultural diversity emerged in the costumes depicted in Tillya Tepe artifacts.