• 인문언어
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• 제7집
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• pp.247-269
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• 2005

The decade of the 1960s in Korea is normally regarded as a transitional period, but this transition has been consistently viewed in either economic or political terms. In this paper I examine the 1960s and the 1970s as a period of cultural transition―from a neo-Confucian emphasis on "high" art to a broader, more inclusive acceptance of "popular" forms of cultural expression. Although these two realms of cultural production are often viewed as fundamentally antithetical, I argue that there is actually significant continuity in terms of both artistic expression and cultural engagement. In particular, I look at the trajectories of Korean national literature and cinema and their areas of confluence. I examine the career of Kim $S{\breve{u}ng-ok$, who in the 1960s was the preeminent literary voice of a new generation and who in the 1970s was the screenwriter for some of the most popular films of that era, and I show how Kim's career changes track parallel changes in both literature and cinema. Artistically, Kim continued his literary expressions of a new sensibility in his screenplays, bringing to cinema a new infusion of seriousness and respectability. Culturally, Kim continued his explorations of the ways in which rapid changes in Korean politics and the booming economy led to miscommunication and chaos in society. By consistently exploring processes of national identity formation and re-formation, Kim's 1960s literature can be seen as crucial instances of Korean national literature (minjok munhak). In the same manner, Kim's 1970s screenplays can be seen as foundational moments in a Korean national cinema.

• 한국실내디자인학회논문집
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• 제23권6호
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• pp.178-186
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• 2014

Recently, a lower levels space has turned into a mediating space where people can experience urban spaces directly and it has revitalized communication between the city and company and also it has changed itself newly. In addition, this space which is connecting interior and exterior spaces of company's buildings can attract people living in the downtown as shock-absorbing and transitional space and it is getting more important part in urban context these days. Through case studies of corporate office space planning characteristics derived lower levels and to provide direction for the lower levels of the corporate office space planning purposes of the present study. Therefore, I establish the concept of the public good corporate office space and transition space, the concept of transition through the first Theoretical Methods. I investigate the properties of the transition area is used as the target for completion of the current construction culture destination since 2000, winning the corporate office, I have been talking about the characteristics of the corporate office along the lower part of the last PPS assessment criteria to apply to the building. PPS by applying an assessment factor can be derived for building enterprise case studies and analysis of the results the following conclusions about the use of publicity and transition space. First, lower levels of corporate office space had been applied to the use and activity in a very important project characteristics. Second, corporate office space, lower levels of access and linkages are important. Finally, in terms of public characteristics transition space is a important characteristic for low-rise space of headquarter buildings.

• 복식
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• 제18권
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• pp.247-268
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• 1992

The Clothing expresses people's desire of beauty most directly of all cultural inheritances, and it teach us how the human culture has changed and developed. In this study researched the history of buttonholes which make the clothes more functional and beautiful. Buttons and Buttonholes is one of detailed elements they used as a fastener or as a decoration on clothing. Button have been used since ancient times, in early times long before buttons were used as fasteners they had significant decorative and symbolic value. In ancient times, clothes fastened with pins, brooches, fibular and ties. In medieval Europe, it was not until the 13th century that they used the button in functional use, and then Chong Ryung-Lk was introduced from orient, and they became popular as fasteners on clothing during the 13th century when fitted clothes replaced loose garments. Garments were laced together or fastened with buttons, until buttonholes were invented in the 13th century. But as early as the 14th century it appears that someone discovered that a loop slipped over a button, or button pushed through a slit in the cloth, would make a good clothes fastener. Many buttons made during the modern ages were convex medallions set in metal rims and decorated with partraits of famous men and women. During the modern ages, buttons, with ligh-ographed pictures, covered with celluloid of glass were popular. In the 19th century, the mass production by machine made people use the button easily, and many different material of button easily and many different material of button was made. With the begining of the 20th century. the development of plastics led to various and functional buttons. The type of buttonholes also became various, as bound buttonhole, Tailred buttonhole, Worked buttonhole, Loop buttonhole and so on. The button has many forms which were imitated by nature, or made geometrically and the appearance of the button from behind is classified by what has holes and what has holes and what has a shank, and I also classified the kinds of button by the quality of the material design and use. Like this, with the passing of the time buttons and buttonholes have changed in appearance with the change of clothes, and they have standed for something meaningful as well as fixed the opening and made clothes more beautiful.

• 한국조경학회지
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• 제46권1호
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• pp.61-71
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• 2018

이 연구는 창경원 야앵이 근대 도시 내부에서 일어났다는 점에 주목하여 도시사회적 관점에서 야앵을 해석하고자 했다. 야앵이 시작된 1920년대 경성의 사회적인 모습은 전근대와 근대 사이의 과도기였으며, 경성의 사회적 근대화 과정은 도시 문화로서 야앵에도 영향을 미쳤다. 이 연구는 당시 경성 사회와 야앵에 만연했던 '판타스마고리아'를 통해 다음과 같은 세 가지 시사점을 찾았다. 첫째, 경성의 판타스마고리아는 군중, 스펙터클, 체험의 양상으로 나타났으며, 야앵에서도 같은 모습이었다. 이는 자본주의에 의해 통제되는 근대 사회와 야앵이 동일한 매커니즘을 가진다는 것을 의미한다. 야앵은 축소된 경성이자 근대적 상품 세계 그 자체가 된다. 둘째, 판타스마고리아가 야앵의 경관을 구성한다는 점은 야앵에 특별한 보는 방식이 존재한다는 것을 의미한다. 근대적 주체들에게 야앵의 판타스마고리아는 근대 도시 경성과 이전부터 살아오던 삶의 공간 사이의 간극을 메울 수 있게 해 준, 근대적 보는 방식에 대한 학습 기제의 역할을 했다. 마지막으로, 야앵의 판타스마고리아는 야앵의 지속적 소비를 부추기는 환상인 동시에, 일제의 영향이 지배적인 자본주의에 의해 작동되는 도시 문화를 망각하게 하는 장치가 된다. 이 연구는 야앵을 창경원 내부의 이벤트에서 근대 도시 사회를 투사하는 도시 문화로 확장해 다루었다는 점에서 의의를 갖는다. 전통적인 상춘의 방식과 비교하여 퇴폐적이고 질 낮은 상춘 문화로 치부되었던 야앵에 도시사회적 맥락에서 새로운 시각을 투사했다는 점도 또 다른 연구의 의의라 할 수 있다.

• 한국언론정보학보
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• 제60권
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• pp.125-149
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• 2012

이 연구는 제작현장의 경험을 중심으로 1970년대 KBS 교양 피디의 직무 내용과 직업정체성 형성 과정을 탐색했다. 1970년대 텔레비전 피디는 경제적으로나 사회문화적으로 선망받는 직업은 아니었다. 오랫동안 편성과 영화의 하부로 남아있던 교양은 흔히 정책 계몽 프로그램의 정치적 수요, 그리고 새로운 기술 도입으로 70년대 중반부터 활성화된 것으로 서술되어 왔다. 그러나 이 연구는 모든 변화의 흐름에서 실천적 주체는 교양 피디임을 주장하고 있다. 교양 피디들은 영화 피디들의 필름 다큐멘터리 제작을 보조하며 스스로를 전문가로 훈련했고, 필름으로부터 마그네틱테이프 레코더 시대로의 전환 과정에서 교양을 특화된 전문 영역으로 독립시켜 제작의 주체로 등장했다. 척박한 제작환경에서 '잔뼈가 굵어가며' 키워왔던 "프로그램을 만드는 DNA와 정신"은 교양 피디들이 직무 전문성을 키우고 자기 정체성을 확인할 수 있었던 가장 큰 힘이었다. 그러나 70년대 교양 피디들은 압도적 국가의 헤게모니 안에서 기술과 제작의 '전문성'을 공급하는 도구적 위치를 벗어나기 어려웠다. 당대 한국 사회의 전 영역이 그러했듯이 피디집단 역시 체제가 부여한 역할을 수행할 수밖에 없었고, 프로그램을 더 잘 만들기 위한 노력과 경쟁이 유일한 자율적 실천이었다. 이러한 조건에서 KBS 교양 피디들은 공무원으로부터의 구별짓기와 상업방송과의 구별짓기라는 두 가지 전략으로 전문 방송인으로서 직업 정체성을 형성했다. 그러나 전문 직업인으로서의 윤리적 실천 규범은 개인의 도덕성 문제에 머물렀고, 방송의 공공적 책무는 상업방송과 대비한 소극적인 정당화에 그치고 있었다.

• Asia Marketing Journal
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• 제15권1호
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• pp.1-22
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• 2013

This case focuses on Shanghai Tang, the first truly Chinese luxury brand that appeals to both Westerners and, more recently, to Chinese consumers worldwide. A visionary and wealthy businessman Sir David Tang created this company from scratch in 1994 in Hong Kong. Its story, spanned over almost two decades, has been fascinating. It went from what best a Chinese brand could be in the eyes of Westerners who love the Chinese culture, to a nearly-bankrupted company in 1998, before being acquired by Richemont, the second largest luxury group in the world. Since then, its turnaround has been spectacular with a growing appeal among Chinese luxury consumers who represent the core segment of the luxury industry today. The main objective of this case study is to formally examine how Shanghai Tang overcame its downfall and re-emerged as one the very few well- known Chinese luxury brands. More specifically, this case highlights the ways with which Shanghai Tang made a transitional change from a brand for Westerners who love the Chinese culture, to a brand for both, Westerners who love the Chinese culture and Chinese who love luxury. A close examination reveals that Shanghai Tang has followed the brand identity concept that consists of two major components: functional and emotional. The functional component for developing a luxury brand concerns all product characteristics that will make a product 'luxurious' in the eyes of the consumer, such as premium quality of cachemire from Mongolia, Chinese silk, lacquer, finest leather, porcelain, and jade in the case of Shanghai Tang. The emotional component consists of non-functional symbolic meanings of a brand. The symbolic meaning marks the major difference between a premium and a luxury brand. In the case of Shanghai Tang, its symbolic meaning refers to the Chinese culture and the brand aims to represent the best of Chinese traditions and establish itself as "the ambassador of modern Chinese style". It touches the Chinese heritage and emotions. Shanghai Tang has reinvented the modern Chinese chic by drawing back to the stylish decadence of Shanghai in the 1930s, which was then called the "Paris of the East", and this is where the brand finds inspiration to create its own myth. Once the functional and emotional components assured, Shanghai Tang has gone through a four-stage development to become the first global Chinese luxury brand: introduction, deepening, expansion, and revitalization. Introduction: David Tang discovered a market gap and had a vision to launch the first Chinese luxury brand to the world. The key success drivers for the introduction and management of a Chinese luxury brand are a solid brand identity and, above all, a creative mind, an inspired person. This was David Tang then, and this is now Raphael Le Masne de Chermont, the current Executive Chairman. Shanghai Tang combines Chinese and Western elements, which it finds to be the most sustainable platform for drawing consumers. Deepening: A major objective of the next phase is to become recognized as a luxury brand and a fashion or design authority. For this purpose, Shanghai Tang has cooperated with other well-regarded luxury and lifestyle brands such as Puma and Swarovski. It also expanded its product lines from high-end custom-made garments to music CDs and restaurant. Expansion: After the opening of his first store in Hong Kong in 1994, David Tang went on to open his second store in New York City three years later. However this New York retail operation was a financial disaster. Barely nineteen months after the opening, the store was shut down and quietly relocated to a cheaper location of Madison Avenue. Despite this failure, Shanghai Tang products found numerous followers especially among Western tourists and became "souvenir-like" must-haves. However, despite its strong brand DNA, the brand did not generate enough repeated sales and over the years the company cumulated heavy debts and became unprofitable. Revitalizing: After its purchase by Richemont in 1998, Le Masne de Chermont was appointed to lead the company, reposition the brand and undertake some major strategic changes such as revising the "Shanghai Tang" designs to appeal not only to Westerners but also to Chinese consumers, and to open new stores around the world. Since then, Shanghai Tang has become synonymous to a modern Chinese luxury lifestyle brand.

• Investigative Magnetic Resonance Imaging
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• 제8권2호
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• pp.100-108
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• 2004

목적 : Trypsin으로 관절연골의 변성을 인공적으로 유도한 뒤 관절연골의 구성성분인 glycosaminoglycan(GAG)의 소실을 생화학적으로 정량분석하고 $Gd(DTPA)^{2-}$-(gadolinium diethylene triamine pentaacetic acid)조영증강, 그리고 T1, T2, rho 이완시간등과 어떤 상관관계가 있는지를 조사함으로써 관절연골의 초기 퇴행성 변화에 대해서 자기공명영상(MRI)으로 관찰이 가능한 지를 알아보고자 하였다. 대상 및 방법 : 적출된 3개의 돼지 슬개골에서 실험에 사용될 관절연골조각을 폭 8 mm, 길이 10 mm 크기의 관절연골조각을 3개 만들었다. 분광광흡수계(spectrophotometry)에서 dimethylmethylene blue를 이용한 chondroitin sulfate standard의 흡수도를 측정하여 GAG을 정량분석 하였다. 관절연골을 배양할 용액은 0.2 mg/ml trypsin, 1 mM $Gd(DTPA)^{2-}$ 첨가된 trypsin, 그리고 대조군용 인산염완충식염수(phosphate buffered saline, PBS)의 3가지를 준비하였다. 배양시간은 1시간에서 5시간까지는 매시간마다 배양하였고 24시간과 48시간까지 배양하였다. MRI촬영은 1시간에서 5시간까지만 매시간마다 배양후 시행하였다. 1.5T 기기에서 MRI촬영은 T1강조영상(TR/TE, 450/22)과 혼합에코기법(mixed echo sequence) (TR/TE, 760/21-168, 8 echoes)등을 시행하였다. 모든 촬영에서 영상영역은 50 mm, 절편두께는 2 mm, 그리고 매트릭스는 $256\times512$ 였다. MRI촬영자료에서 관절연골부위를 픽셀단위로 비교분석 하였다. 배양이 끝난 관절연골은 hematoxylin & eosin, toluidine blue, alcian blue, trichrome 염색 등을 시행하여 관찰하였다. 결과 : Dimethylmethylene blue를 이용한 GAG의 정량분석결과 배양시간증가에 따라 GAG의 농도가 비례적으로 증가하였다. $Gd(DTPA)^{2-}$ 첨가된 trypsin배양에서 관절연골의 T1 강조 영상에서의 신호강도는 trypsin 배양에 비하여 평균 $42.0\%$ 증가하였고 4시간과 5시간배양에서는 trypsin에서만 배양한 관절연골에 비하여 신호강도가 더욱 뚜렷하게 증가되었다 (p<0.05). 관절연골의 T1, T2, rho 이완시간은 배양시간에 따라 유의성 있는 차이가 관찰되지 않았으나 $Gd(DTPA)^{2-}$ 첨가된 trypsin배양에서 T1이완시간의 증가가 관절연골의 표층부와 이행부에서 측정되었다. 조직검사결과 trypsin 배양의 관절연골에서 toluidine blue와 alcian blue염색에서 결손이 관찰되었다. 결론 : Trypsin 배양시간에 따라 관절연골의 GAG결손을 정량적으로 확인할 수 있었고 픽셀크기 $97.9\times195\;{\mu}m$인 MRI로 $Gd(DTPA)^{2-}$-조영증강 및 이완시간을 측정할 수 있었다. 배양시간에 따른 GAG결손은 T1, T2, rho 이완시간보다 $Gd(DTPA)^{2-}$-조영증강에서 유의한 차이를 관찰할 수 있었다. 그러므로 관절연골의 초기 퇴행성 변화를 진단하는 데는 T1강조영상에서 $Gd(DTPA)^{2-}$-조영증강정도를 비교하는 것이 가장 유용할 것으로 사료된다.

• 여성건강간호학회지
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• 제5권2호
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• pp.204-221
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• 1999

Due to the ever increasing life-span of human beings, the average woman is living well into her 70's. Henceforth, they spend at least one-third of their life after menopause. Climacteric encompasses the time preceding, during, and proceeding menopause : a transitional period of shifting from the period of being fertile to the period of senescence. In other words, this is the time at which they lose the ability to reproduce. Menopause can influence a woman's sexual life immensely due to the physiological, social, and psychological changes that occur during that period. In korea, where some women still live according to Confucian Culture in terms of sexology, nurses can play a vital role in the dissemination of sexual facts to women. This study was designed to clarity the characteristic and satisfaction of sexual life. This was done according to the classification of three types of climacteric women : pre-meno-pausal, menopausal, and post-menopausal. I studied 159 climacteric women between the ages of 45 & 59, living in or around the vicinity of Taegu City. This study utilized the investigative tools for sexual life patterns which were constructed with field experts' consultation and reference review by the author. The sexual satisfaction was translated from DSFI. The climacteric symptoms were invented by Kupperman, This research is descriptive. The data was collected between July 15, 1998 and October 14, 1998. Statistical analysis was performed using ANOVA and Pearson Correlations, and was computed with the SPSS program. The results obtained are summarized as follows; The frequency of sexual activity was highest in pre-menopause and declined after menopause. The frequency of genital caressing declined after menopause. The difference between the frequency of masturbation and coital pain was not significant according to the classification set forth in this experiment. Congruently, the frequency of orgasms declined after menopause. The mean satisfaction of sexual life is 27.1 years. The range of expected score is 9-45 years of age. Satisfaction was highest in the pre-menopausal group and proved to be statistically significant. Some of the general characteristics that affected the satisfaction a woman's sexual life in the climacteric stage during this project were ; age, income, satisfaction in younger pre-menopausal and the large income group than the other experimental groups. The climacteric symptoms were conversely correlated with the satisfaction in one's sexual life.

• 복식
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• 제63권2호
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• pp.29-44
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• 2013

This study is about the periodic characteristics of Wonsam in the Joseon Dynasty. Wonsam include the Danryeong-shaped Wonsam in the beginning, the compound Wonsam in a period of transition and the stereotyped Wonsam in the late Joseon Dynasty. The formative characteristics of Wonsam are divided into four stages. The first stage of the Wonsam is from the 15th to 16th century. The shape of Wonsam began to form and it was similar to one of Danryeong during this time. The formative characteristics of the first Wonsam included collars that looked like one of Danryeong, side pleats(called Moo) with multiple inner folds, straight cylinder-shaped sleeves, and a belt tied with the Wonsam. There were various fabrics that were used for the Wonsam from this stage. Second stage of the Wonsam is from the early 17th to mid 17th century. This period marked the beginning of the transition of the Wonsam and it served as a stepping-stone to the development stage in the Joseon Dynasty. The characteristics of the transitional Wonsam were a complex combination of the Danryeong and Wonsam. During this period, the Wonsam went through many changes and forms in a short period of time. Third stage of the Wonsam is from the mid 17th to early 19th century. The Wonsam was developed at this stage. The developed Wonsam went through a period of transition equipped with a stable form. The formative characteristics of Wonsam during this period included collars that faced each other, big and wide sleeves with multicolored stripes, Hansam, curve-edged side seam and the side pleats(Moo) with multiple inner folds had disappeared. It was a turning point from the single-layered clothes to double layered clothes and from dark blue to green color appeared at this time. The fabric patterns of this stage tended to consist of more simplified silk pattern. The fourth stage of the Wonsam is from the late 19th to 20th century. The Wonsam was expanded at this stage. The formative characteristics and fabrics were typically used for the standard Wonsam and were divided into two types; as a ceremonial robe used in courts and a wedding ceremonial robe for the common people. Phenomena such as sewing of double-layered clothes as one and straight-edged side seam during the late Joseon period developed into simpler and more practical fashion culture.

• 미술이론과 현장
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• 제7호
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• pp.125-163
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• 2009

The artworks of Socialist Realism of the former Soviet Union, with the beginning of the 21st century, are gaining a new attention from art collectors. One reason for this might consist in the fact that relevant art pieces exemplify the ways in which they visualize ideas on the basis of their high-profile art tradition and also in which they integrate their utopian ideals with mysticism. These aspects of the Soviet art goes far beyond the wide-spread assumption that their art, as a means of propaganda, principally represents a political allegiance to the system. With Stalin coming into power in the 1930s, the artistic trend of Socialist Realism obtained a nationwide sympathy and support from people, giving birth to a new art which essentially corresponded to the demands of the political power. An official art current of the USSR over the period from the 1930s to 1950s, Socialist Realism was in tandem with the Communist commitment to the party and popularity, symbolizing a loyalty to the cause. It was thus characterized by plainness and lucidity so that ordinary people could gain easy access to art. Its salient feature, over an entire range of art, was an optimistic pursuit of a utopian dream. Therefore, it tallied with the popular sentiment for a Communist paradise, giving form to their beliefs in human agency working at the materialist world and also to such abstract concepts as force, fitness, and beauty by adding even mythical ideals. Its main subject matter includes harvest feasts of collective farms, imaginary socialist cities, grand marches of heroic laborers and in this way it served as a propaganda for a sacred utopia of socialist totalitarianism. On the other end of the spectrum, however, rose the second camp of art, which put an emphasis on bona-fide artistic activities of plastic art and on an artist's personal expression and freedom, as opposed to the surface optimism of Socialist Realism. Central to the Russian Avant Garde art, which prized the above-mentioned values, were Malevich's Geometric Abstraction and A. Rodchenko's Constructivism. Furthermore, in the transitional era of the late 20th century and the 21st century it was recognized that film art or electronic media art, rather than traditional genre of paintings, would function as a more efficient way of propaganda. These new genres were made possible by ridiculing the stereotypes of the Russian lifestyle and also by ignoring ethical or professional dimensions of artworks. That is, they reinvented themselves into a sort of field art, seemingly degrading the quality of artworks and transforming them into artifacts or simulacres in the very sense of post-modernism. The advent of the new era brought about the formation and occupation of pop culture of the younger generations, calling into question the idea of art as the class-determined. It also increased the attention to field art, which extensively found way to modern art centers, galleries, and exhibition projects. It can be stated that this was a natural outcome of human nature.