• Journal of the Korean Society of Costume
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• v.64 no.7
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• pp.172-183
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• 2014

The term "new woman" (신여성 [Sinyeoseong], 新女性) refers to an idealized image of contemporary women during the so-called modern period in East Asia. In Korea, these "modern girls" were also referred to as modan (毛斷), or "cut-hair", reflecting changes in appearances that rejected the traditional value system in favor of "the new" in everyday life. Although it was used to refer to the perceived educated leaders of this new period, it also had the negative connotation of referring to frivolous women only interested in the latest fashion. The popular discourse on this "new woman" was constantly changing during this early modern period in East Asia, ranging from male-driven women's movements to women-driven liberal and socialist movements. The discourse often included ideals of what constituted female impeccability in women's domestic roles and enlightened views on housekeeping, yet in most cases the "new woman" was also expected to be a good wife and mother as well as a successful career woman. The concept of the "new woman" was also accompanied by an upheaval in women's social roles and their physical boundaries, and resulted in women repositioning themselves in the new society. The new look was a way of constructing their bodies to fit their new roles, and this again was rapidly reproduced in visual media. Newspapers, magazines, and plays had gained immense popularity by this time and provided visual material for the age with covers, advertisements, and illustrations. This research will explore the fashion of the "new woman" through archival resources, specifically magazines published in the 1920s and 1930s. It will investigate how women's appearances and the images they pursued reflected the ideal image of the "new woman." Fashion information providers, trendsetters, and levels of popular acceptance will also be examined in the context of the early stage of the fashion industry in East Asia, including production and distribution. Additionally, as the idea of the "new woman" was a worldwide phenomenon throughout the 19th and early 20th century, the effect of Japanese colonialism on the structure of Korean culture and its role as a cultural mediator will also be considered in how the ideal image of beauty was sought, and whether this was a western, colonial, or national preference.

• Journal of the Korean Society for Library and Information Science
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• v.28
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• pp.167-191
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• 1995

The school library standards. a guideline encouraging the reasonable library administration for school education that began with early quantity in 1920, has been changed as an information power in 1988 after 7th revision. The school library is highlighted as a gear of education process and the center of education change. The major summary is as follows: First. the name of librarian has been changed from teacher's librarian to school library media specialist that executes as a leader for participating in plan. performance and development of instruction. Second. the type of material has been changed from book to electronic media. Also, the number of book per capital has been increased from 6-8(1920) to 23-28(1988) Finally, the function of school library has been changed from space service into proactive service which is playing the role of the heart of school education process based on information skill.

• Journal of architectural history
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• v.2 no.1 s.3
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• pp.74-90
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• 1993

The genesis of Modern Architecture in Korea by Korean Architects can be explained by the Korean socio-economical condition. During the late 19c and early 20c many buildings had been constructed that contained modern function, But modern builings designed by Korean Architects appeared through the 1930s. The 'Hwoisaryung' which was a law to restrict establishing company in Korea since 1910 was extincted at 1920. Korean modern capitalists formed after 1920 could be clients of a modern buildings. The period of the formation of Korean modern architects met that of Korean modern capitalists. Korean modern capitalists commissioned Korean architects and Korean architects were able to practice only in the relation of its patron. Korean capital formed 6 per cent of total capital in Korea. Although Korean capitalists would be a patron of Korean architects, their requests of building were restricted to the commercial, the residential and the private educational buildings.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.15 no.5
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• pp.3176-3182
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• 2014

In the early 1920s Japan, a new concept of architecture emerged abruptly. Comprised of six new college graduates, Japanese Secessionist Architects, so called Bunriha Kenchikukai, proclaimed that they reject any historical baggage that Japan had so far inherited, and decided to build a brand new way for modern Japanese architecture. Their modernism differed from eclectic measurement done by earlier generations. For them, contemporary modern Japanese architecture was only copious to historic monuments of Western civilization. Bunriha architects' statement not only advocates an escape from nationalist historicism and Westernization, but also intends to resolve the dilemma in that it substitutes a technical syncretism inherent in all avant-garde movements. This paper intends to elucidate that Japanese Secessionist architecture is greatly indebted to German Expressionist architecture in terms of its formal language and avant-garde utopian idealism.

• Korean Institute of Interior Design Journal
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• no.21
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• pp.26-32
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• 1999

This study is intended to explore the tendency of interior design which have sustained the periodic changes throughout the history. After analysis of changes in interior design from 1920's early modernism to nowadays, the conclusion is as follows. In view of the human psychology, the main trend of consistent periodic changes is the revolutionary change of tension and relaxation, and the pursuit of such a change in design is rooted in the human basic need to get the vital energy through stimuli by giving and taking the variety in the public society.

• Journal of the Korean association of regional geographers
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• v.6 no.1
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• pp.69-89
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• 2000

The regional geography had been at the height of prosperity in the first half of the twentieth century since Alexander von Humboldt and Carl Ritter. The geography remained stationary in the late 19th century had greatly developed around the regional geography in European countries since the early 20th century. Particularly, A. Hettner and O. $Schl{\ddot{u}}ter$ in Germany, Vidal de la Blache in France and A. J. Herbertson in Britain developed their own methods of regional studies and produced many results of empirical studies ; accordingly the regional geography had been at the height of prosperity in the 1920s and 1930s. This paper aims to study the regional concepts and the methods of regional studies of Germany geographers in the 1920s and 1930s. This study is useful to understand the current methods of classifications of regions and descripitive systems of regions. The noteworthy results of studies are summarized as follows : First, The regional geography of Germany had been developed by Hettner who regarded the geography as the chorological science of the earth's surface, $Schl{\ddot{u}}ter$ who did the geography as the study of cultural landscape and Penck's students, the morphologists of landscape (Landschaftsmorphologie). Hettner defined the geography as the chorological science, maintained that the earth's surface was classify according to its localized difference -continents, lands, districts and localities(Erdteile, $L{\ddot{a}}nder$, Landschaften und Ortlichkeiten) and emphasized on the total character of areas. He tried to classify downward from continents to localities based on the sizes of regions. He also gave the logic of causal relation to schematic approach(Das $L{\ddot{a}}nderkundliche$ Schema) and further developed it. $Schl{\ddot{u}}ter$ argued that The process of change on the landscape through time must be studied. And Passarge and Penck's pupils, morphologists of landscape, tried to classify the landscape synthetically. Thereafter, De Geer and $Gran{\ddot{o}}$ employed the creative methods of regional classification which used signs and simbols. Second, The regional geography of Germany differed from that of France on the next points ; 1. The former was analytic, but the latter was synthetic. 2. The former placed great emphasis on physical elements, terrain and climate etc., but the latter did great emphasis on both physical and human elements. 3. The former gave priority to the studies of large scale regions, but the latter did priority to the studies of small scale regions. In 1920s and 1930s the regional study of Germany geographers exerted direct influence on the development of geography of Japan. Especially, Tanaka Keiji, Japanese typical regional geographer, tried to classify Japan synthetically on the bases of terrain, climate, vegetation and human elements under the influence of European geographers. He exerted great influence on both Japanese and Korean geographers at that time.

• English Language & Literature Teaching
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• v.8 no.2
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• pp.117-130
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• 2003

This paper attempts, not to evaluate, but to describe William Carlos Williams' poetic techniques in accord with his poetic theory of Imagism; it does this by showing the early poetry in 1910's. The purpose of this paper is to analyze how Williams developed his poetic techniques with his theory of poetry. The progress of his poetic theory is drawn from the influence of another poet, Ezra Pound. William Carlos Williams' poetic development in Imagism threads the periods of his writing from the early 1910's to the early of 1920's. William Carlos Williams forms progressively the theory of his poetic technique of Imagism in this period. He treats the poems as images. In his theory of Imagism, his art continually demonstrates the development of poetic techniques by the help of other artists. This period represents Williams' attention to the essence of poetic elements: 'the thing itself.' All of these things in life come before us in his poetry in such a way as to be a technical process divided into the well-formed theory of poetry. The development of William Carlos Williams' poetic technique takes a particular pattern in order to achieve a theory of Imagism. At last, the steps of his poetic technique arrive at an organic unity of poetic theory in the early poetry of Williams.

• Korean Institute of Interior Design Journal
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• v.13 no.6
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• pp.99-106
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• 2004

The purpose of this study is to investigate the modernity characteristics of the traditional housing in Seoul 1920s to 1930s setting the criterion for analyses based on a Korean architect, Park, Kil-Ryong 'Housing improvement theory' about 'the Housing Plan of the Middle Area in Choseon'. The architect Park, Kil-Ryong expressed 'Housing Improvement Theory' positively founded on having a deep knowledge of traditional architecture. At his early working stage in 1928, he announced 'Housing Improvement Theory' about 'the Housing Plan of the Middle Area in Choseon' from the paper titled 'An Inquiry into the Housing of the Middle Area in Choseon', It is inferred that his paper quite affected the modern changes of traditional housing of those days. As the results of the study, even though the main floored room still keeps the symbolical and central position in traditional housing, the size of that is designed to be smaller than before. The room on the opposite side is generally designed widely as the scope more than 2 'KAN' and shows the features of expansion and division according to functions. By interchanging the location of the kitchen, the inner room as the main living space souths in the front of the house. The kitchen is designed as fitting size and separated from the space of working, linking, setting the table, keeping things and others. The bathroom is built in the house and then connected to the corridor. Each space is effectively planned for the best location in the house as considering lightening and ventilation.

• Korean Journal of Plant Tissue Culture
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• v.24 no.4
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• pp.203-212
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• 1997

The impact of plant genetic engineering, a technology born in the early 1980's, is beginning to be felt across the world in the 1990's. The first wave of engineered plant produce are reaching consumers in the supermarket and many more are destined to follow Transformation technology now exists for most plant, including the four staple crops-maize, wheat, rice, and soybean. Early targets of genetic engineering include plane possessing insect resistance and herbicide tolerance, with future goals set on increasing harvestable yield, improving nutritional quality, and making specialty products. This review describes some of the milestones in plant biotechnology, the U.S. regulatory agencies, field trial numbers and deregulated plants, commercialization criteria, examples of commercialized plants, and future prospects of plant biotechnology.

• Cross-Cultural Studies
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• v.20
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• pp.241-274
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• 2010

Due to the remarkable changes in the early twentieth century, the new invention and technology impacted peoples' everyday lives and people started to use the word, modern, to apply specifically to what pertained to present times and to designate a movement in what was new and not old-fashioned-a condition of newness. In the present day, however, the fantastic cultural changes of a century ago have now become commonplace, and what was once considered radically new is no longer a reason to marvel. This paper considers what it mean to be modern, once the new is no longer new. This question seems to remain as complicated and inappropriate to ponder because the consideration and impact of modernity cannot simply end with the end of an era. This paper investigates how the interconnected nature of popular culture provides apt illustrations to reveal the ambivalent nature of modernity and postmodernity. In doing so, first of all, this paper pays attentions to the notion of modernity and popular culture which emerged together in the early twentieth century when technology and mass consumer culture were promoted over the world. Also, it examines how popular culture represents a complex of mutually-interdependent perspectives and values that influence society and its institutions in various ways as the image of modernity continues to build in a postmodern era. That is, popular culture is identified as a large amount of intertextuality or collective experiences due to its intermingling of complementary distribution sources and techonology. Thus, this paper explores that popular culture devotes itself other images or narratives instead of referring to the real world and its output revisits the contemporary or past times in other places, being a means to produce and reproduce the accumulated images of the modern which shapes ceaseless simulacra of modernity over complexities of modernity. In order to find a critical juncture of the complex networks of modernity and popular culture, this paper considers two places, Chicago and Gyeongsung in the 1920s and 1930s in which the rapid modern experience took place and the modern movement forced the two societies to join the mass consumer culture whether willingly or not. Next, this paper considers two movies released in 2002 and 2008 that exemplify the complexities of modernity in Chicago and Gyeongung of the 1920s and 30s: Chicago and Modern Boy. Both films have common themes of the 1920s and 30s such as violence, adultery, femme fatal, and criminal themes with the forms of musical, dance, drama, and romance. Through the textual analysis of both Chicago and Modern Boy, two films are compared in observing the similar and different ways in which two films deal with the theme of modernity when they are represented from the contemporary perspectives. More specifically, this paper questions how modernity is present in contemporary cultural forms such as commercial and hybrid genre films; and how these movies create a new image of modern by embodying the double coding. Ultimately, this paper aims at realizing the paradox of double edged modernity and its ongoing discourse that controls people's consciousness through the medium of popular culture.