• (The)Study of the Eastern Classic
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• no.56
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• pp.267-295
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• 2014

The purpose of this paper was to introduce the material status of women's epistolary literature published in modern study materials for writing letters in Chinese in 1920~30s and analyze gender consciousness shown in them. To this end, five kinds of representative modern study materials for writing letters in Chinese in 1920~30s were selected and 55 women's letters published in them were summarized. Through this, it was pointed out that the subjects of women's epistolary literature are mainly 'males' of families and the form of 'reply.' This implies that the authors of modern study materials for writing letters in Chinese recognized women's Chinese letters as a secondary means to prepare for inevitable communication with men rather than the leading medium of communication. The first aspect of gender consciousness shown in women's epistolary in modern study materials for writing letters in Chinese is to reaffirm the traditional gender order by calling and resetting women as the position and role in the family. The second aspect of gender consciousness is that female education materials which seemed to reflect the modern gender order are actually mentioned under the very skeptical view. The third characteristic aspect of gender consciousness is that the motif of 'discipline about economic activity' is only noticeable in women's epistolary published in modern study materials for writing letters. This setting was regarded as a means that the authors of modern study materials for writing letters in Chinese transferred the responsibilities of maintaining livelihood and managing household to women. Women's epistolary in modern study materials for writing letters in Chinese is the material which is noticeable in terms of showing the possibility of female Chinese Writing in modern times but according to the analysis of this paper, it is the text showing female form and women's writing judged within thoroughly male-centered imagination. That is, women's epistle text has a significance that allows us to read conservative reentry of modern study materials for writing letters in Chinese more clearly.

• Fashion & Textile Research Journal
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• v.12 no.5
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• pp.574-581
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• 2010

Trunks like men's underpants are similar to boxer shorts and are made in both modern and traditional styles. Like boxer shorts, trunks cover the mid-section of the body (hence the name "trunk"). As the income level of the nation increases, men as well as women become interested in fashion expressing the individual's character, by not regarding fashion as simply wearing essential items to live in. Men's interest in fashion influences men's underwear designs which has been thought previously just as to be worn for living in. Nowadays, trunks are often worn as lounge wear in the household, therefore the need for sensual and characteristic trunks designs is required in the fashion market to meet the customer's new needs. In modern fashion designs, Chinese letters have been artistically presented and used in decorative fashion design regardless of its original meaning, generally embroidered in traditional costumes. Based on the fact that Chinese letters containing lucky meanings have traditionally been used, other Chinese letters meaning positive and prospective future can be adapted and weaved into men's trunks designs. Therefore, in this study, among many good meaning Chinese letters; four Chinese letters, 高(high), 金(gold), 義(justice), 愛(love), have been selected and applied in the trunks designs. The purpose of this study is to develop men's trunk designs using these Chinese letters which can be massively produced and sold in Asian countries which commonly understand the meaning of the Chinese letters as well as in South Korea.

• Microbiology and Biotechnology Letters
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• v.17 no.4
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• pp.403-406
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• 1989

To establish tile standard condition of uniformed Kimchi product, we introduced the concept of starter and studied the preparation of rapid-fermented Kimchi. Of the strains isolated from Kimchi, Kakdugi and infant's feces, M7 strain grew effectively on aseptic Chinese cabbage juice and on salted Chinese cabbage, the growth of M7 was decreased severely. Inoculated with M7 in salted Chinese cabbage, appropriate range of pH and lactic acid content were reached at 8-13 hrs and 12 hrs after addition of spices, respectively. The result of sensory evaluation was not significant at 5% level.

• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.3
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• pp.23-42
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• 2021

The purpose of this study is to analyze the characteristics of the Chinese Miao people's Batik patterns and provide data in the field of fashion design for the utilization of the traditional patterns. This study investigated and analyzed the regional characteristics of Batik dyeing, which was listed on China's national intangible cultural heritage list; Danzhai, Anshun, Huangping, and Gonghyeon. The expressive characteristics were classified into four categories: symbolism, abstraction, decorativeness, and playfulness. The results are as follows. First, symbolism can be classified into the origins of the Miao, symbols of faith, history of migration, and the symbols of status with Batik patterns from different regions, seemingly involving various symbolic implications. Due to the absence of letters, Miao people expressed their emotions and history in the design patterns. A series of developments in recent years has led to incorporating the temperament of the Miao people, history of migration, expression of emotions, and ideal hopes in Batik dyed design patterns and the symbolic functions have been significantly emphasized. Second, the decorativeness is mainly characterized by repeated patterns of the Miao Batik dyeing design. The overall patterns demonstrate design features characterized by regularization and simplification, along with a sense of rhythm with the unique arrangement of patterns. Third, the abstractness of the Batik dyeing design patterns is often found in plant and animal patterns, properly delivering new designs created by Miao women by extracting and rearranging various elements, including dots, lines, and faces shown in natural images. Fourth, playfulness is expressed by the transformation and distortion of Miao Batik patterns, and were created by applying patterns or other elements to original forms to express animal or plant patterns in a playful way.

• Journal of the Korean Society of Costume
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• v.57 no.2 s.111
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• pp.11-28
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• 2007

Sang-uiwon was the bureau of Royal attire in Chosun Dynasty. It had been established in King TAEJO, Chosun Dynasty. The 597 artisans, sorted by 68 types were assigned to Sang-uiwon. The ministry of Taxation[Hojo] and Tribute bureau[Seonhvecheong] had charged of finances of Sang-uiwon. According to the Regular rule of Sang-uiwon, there were five types for finances. The principal income tax[Won Gong] was the assignments of national finance to Sang-uiwon. The materials for the Royal informal dress were offered by usual tributes. The kinds of usual tributes were the tribute for the Royal families' birthday, holidays such as New Year's Day, the fifth day of the fifth lunar month, the harvest festival[Chuseok], and the winter solstice, the tributes for spring and fall, every first day and fifteenth day of the month, an annual tribute, an annual present, and an annual laudatory goods which were the King's presents to His Majesty's lieges. With usual tributes from Sang-uiwon, the Royal informal dress was made by the dressmakers and embroiderers who were Court ladies. The Royal informal dress for the King and the Crown Prince was trousers[Ba JI], shirts[Sam A], jackets[Gua Du], men's gowns[Chul lick], and long vests[Due Grae]. The Royal informal dress for the Queen and the Crown Princess was loose drawers[Dan Ni Ui], long skirts[Chi Ma], shirts[Sam A] and jarkets[Go Ui]. When there were the king's proceeding outside the palace, royal parties, cases of tributes to Chinese, special tributes were offered according to the procedures, like as making letters about the affairs, consulting, and permission. The tributes were also offered by a royal ordinance. According to the kinds of Royal event, the officers of Sang-uiwon procured the Royal costume which were conformed to the Royal etiquette.

• Sijohaknonchong
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• v.43
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• pp.5-39
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• 2015

Shijo (Korean poetic form) is a representative literature genre of a short poem among the literary works of Korea in the late Chosen Dynasty. The format of Sijo is Normal-Shijo in the form of 3 verses, 6 sections and 12 sound, and the lyrics of one Normal-Shijo has within or without 45 words. But Saseol-sijo, a type of Sijo, there is a work that has more than 100 letters due to the number of lyrics were a lot increased. Among those Saseol-sijo there is a work with 'solemn and elegant feeling' borrowing some verses even from Chinese poem, using a lot of Chinese vocabulary, but there are a lot of works with 'salacious and explicit contents'. Literary work, Shijo, is used for lyrics of vocal music as Gagok (a genre of Korean vocal music for mixed female and male voices) and Sijochang, however, there are many cases that the same Sijo poem is used as lyrics of Gagok and Shijo. But those music that use Saseol-sijo as lyrics among Gagok, the vocal music, are mainly songs with 'solemn feeling' rather than 'salacious work'. This study looked into the reason why the Saseol-sijo with 'salacious and explicit contents' are hard to be used as lyrics in Gagok, confirming the fact that most music singing Saseol-sijo among Gagok that are being handed down till now use lyrics with 'solemn and elegant feeling'. The most important thing among those reasons seems to be irregularly increasing lyrics, and in accordance with accompaniment. Gagok accompanys a number of instruments the fixed melody recorded and delivered in score. So it's almost impossible to play unless it depends on the steadily made song melody and accompaniment melody according to the chosen lyrics in advanced. Also, appreciation of literary works is usually made privately through a private reading activity, but Gagok is conducted through public performance in an open space for many people. Especially, it would have been hard to sing a salacious and explicit song gathered together with men and women of different social status in social system and custom of the late of Chosen Dynasty. This study confirmed the fact that folksy and popular character that was praised for literary characteristic of Saseol-sijo can't be easily found from Saseol-sijo that was called Gagok.