• Cross-Cultural Studies
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• v.40
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• pp.41-60
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• 2015

This article aims at exploring the convergence and sharing of cultural tastes among Northeast Asian countries by analyzing TV drama "Boys over flower", based on the original Japanese manga and produced in Korea, China, Japan and Taiwan in the $21^{st}$ century. It explores the expectation and desire of the mass who have taken pleasure in watching it in each country as well. This article argues that the sharing of the sensitivities and tastes of young women, the main consumer of the drama, by the mass of the four countries, are an important cultural phenomenon in that it reveals the emergence of "girl" as an active cultural consumer, who had been the object of a restraint and strict protection of the bourgeois family structure.

• Journal of the Korean Society of Food Culture
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• v.23 no.1
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• pp.41-47
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• 2008

Survey on the food intake status and health condition of the elerly over 65 years old living in Damyang Jeonnam was performed and meal menus for the pavillion were developed using local products. Allowance of the elderly less than 100,000 won was 45%. The local products of the area recognized by the elderly were bamboo shoot (30%) > bamboo (22.5%) > bamboo basket (12.5%) > do not know (15%) > green tea (10%) > rice(7.5%) > vegetable. In dental health, 52.5% of them had bad condition but 62.5% did not use denture at all. The most favorate foods were Korean (92.5%) and Chinese and Japanese were favored by 5%, and 2.5%, respectively. In percentage of eat-out and use of instant foods, 42.5% of them answered that eating-out chances were very rare and 62.5% answered that they do not use instant foods at all. Potassium intakes for the male and female elderly were significantly very low with values of 2579.2 mg and 2601 mg, respectively (p < 0.05). Calorie intakes for men were 1678.5 kcal, which was only 84% of RI and 1470.8 kcal for women (92%). Shortages of nutrition including calcium intake and others were very serious and the meal was not nutritionally balanced based upon the study of GMDFO. The menu for the elderly in busy farming season of the area were developed with the use of local products and the information from the study.

• Journal of the Daesoon Academy of Sciences
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• v.23
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• pp.109-152
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• 2014

This paper deals with the artistic expression of religious thought in terms of the uniqueness of different images and creativity. The relationship between religion and art is complicated but popular in modern society. Film becomes the icon of modern culture to enhance the knowledge of religious traditions. Among many Korean religious films, Kang Daejin's work, The Way of Peace (1984) contains the life and thought of Kang Jeungsan(1871-1909), the highest god of Daesoonjinrihoe. First, the film, The Way of Peace, pays attention to the legitimacy of succession from Kang Jeungsan to Cho Jeongsan(1895-1958). Korea was beset with trouble both at home and abroad. China, Japan, Russia, and the US had the colonial desire to conquer the lands of Korea and to explore natural resources. Though the people of Eastern Learning(東學) protested government and Japanese colonialists, Jeungsan applied the principle of non-violence to the world. In order to save all the living beings of the world, he reordered the universe and renewed the harmonic relationship of human beings and their spirit. Second, The Way of Peace proposed the soteriology of peace and change to audience regardless of seekers(道人) or not. Jeungsan transformed the closed society to the open society, changed divided religions to the transcendent truth(道). He empowered the marginalized people such as women, the lowly, the elderly, and the sick, who were oppressed in the Confucian society. And he redeemed the people from the disease by healing all diseases and correcting disorders. In conclusion, The Way of Peace is a good resource of religious education by which we can overcome the religious illiteracy. The knowledge of new religious movements and Daesoonjinrihoe is necessary for us to understand the diversity of human nature. In the near future, the new images of Jeungsan should be created through multi-media and cultural contents for the new generation.

• Convergence Security Journal
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• v.23 no.5
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• pp.199-208
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• 2023

South Korea and Japanese governments have never responded cooperatively to North Korea cyber threats in the past 10 years or even before that. There are two reasons: First, The historical and political conflicts between the two countries were so deep that they did not discuss their mutual needs. Second, officially, Japan had not been subjected to a North Korean cyberattack until 2022 . In particular, the issues of comfort women and forced labor during World War II were holding back the reconciliation between the two countries. With the inauguration of the Yoon Seok-yeol administration, Korea-US relati ons improved dramatically. Tensions in Northeast Asia reached their peak due to the conflict between the US and China. It has become a situation where peace cannot be garaunteed without close cooperation between Korea and Japan led by the United States.

• Journal of the Korean Society of Costume
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• v.38
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• pp.305-321
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• 1998

The costume style of the Chosun dynasty changed greatly after Imjinwaeran (the Japanese Invasion of Chosun Korea, 1592∼1598). Most of the extant costumes come from the late Chosun, but some costumes produced be-fore Imjinwaeran have been excavated, and in addition, information on these older constumes is contained in contemporary literature. Of especial value in the study of pre-Imjinwaeran Chosun constumes is a mid-sixteenth century palace painting depicting the worship of Buddha, a painting in the collection of the Ho-Am Art Museum in Seoul. The present study of costume during the middle Chosun dynasty focuses on this painting, and compares it with other contemporary palace paintings, and with other contemporary palace paintings, and with Nectar Ritual Paintings. The following conclusion were drawn : * Concerning woman's hair styles of the time, married women wore a large wig. Un-married women braided their hair, and then either let it fall down their back or wore it coiled on top of their head. * The major characteristic of woman's costumes was a ample, tube-like silhouette, with the ratio of the Jeogori(Korean woman's jacket) and skirt being one-to-one. * The style of Jeogori in the painting was like that of excavated remains. Some Jeogoris were simple (without decoration), while some Jeogoris were worn with red sashes. Here we can confirm the continuity of ancient Korean costumes with those of the sixteenth century * Although the skirt covered the ankles, it did not touch the ground. Because the breadth of the skirt was not wide, it seems to have been for ordinary use. Colors of skirts were mainly white or light blue. * All men in the painting wore a headdress. Ordinary men, not Buddhist monks, wore Bok-du (headstring), Chorip (straw hat), or Heuk-rip (black hat). In this painting, men wore a Heukrip which had a round Mojeong (crown). * The men wore sashes fastened around their waist to close their coats, which was different from the late Chosun, in which men bound their sashes around their chest. That gave a ration of the bodice of the coat to the length of the skirt of one-to-one, which was consistent with that of woman's clothing. * In this painting, we cannot see the Buddhist monk's headdress that appeared later in the Chosun, such as Gokkal (peaked hat), Songnak (nun's hat), and Gamtu (horsehair cap). These kinds of headdresses, which appeared in paintings from the seventeenth century, were worn widely inside or outside the home. Buddhist monks wore a light blue long coat, called Jangsam (Buddhist monk's robe) and wore Gasa (Buddhist monk's cope), a kind of ceremonial wrap, round their body. We can see that the Gasa was very splendid in the early years of the Chosun dynasty, a continuing tradition of Buddhist monk's costumes from the Koryo dynasty.

• Journal of the Korean Society of Costume
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• v.22
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• pp.277-296
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• 1994

The progressive artists in Austria including Gustav Klimt organized the Viennes Se-cessionist in 1897 and they took an active part in the reformation of the reformation of the applied art by accepting the Jugendstil standing for the true art. The vocabularies which characterize this group are decoration literature and the power of symbol. Klimt especially expressed these characteristics and his strong person-ality. For he created his works with the sym-bolic and friendly splendor through his highly decorative talents by accepting the enwly changed artistic situation in those days and by getting out of the naturalistic trends he was regarded as an avant-garde artist as a major figure among the Symbolist artists who revived European culture which was destroyed through the World War I. The characteristics of klimt's works was to express the various human thoughts and minds through the decorativeness and the femininity and to use the decorative elements of old Greek and Egyptian culture and Japanese art as the motives of his works, His art is to be found between the naturalistic characteristics and formalization as well as between the in-dustrial arts and the fine arts. In his many portraits he preferred women by trying to express eroticism hidden behind the human inner world. For this he demonstrated the attractiveness and the characteristics of the models by designing the illusionary and unique clothes. In general his genius was to be seen through the costume which was decorated with metals and jewels and through the characteristics of the modern costume in which the previous solid silhouette was removed and the gentle and elegant me-dium color was used. by accepting the new artistic trends in the turn of the century by fully expressing those characteristics in his creative world and by taking his theme from the eroticism through the decorativeness and the expression of women Gustav Klimt's uniquely decorative ex-pression completely realized the aesthetics of Jugendstil symbol decoration and expression which displayed not only the external appear-ance but also the inner world. Especially he created a new appearance emphasizing the costume of the characters in his works. Also through the costume he expressed his artistic consciousness and psy-chology. He showed the characteristics of the reformed costume through the medium color the simple forms and gentle silhouette. Also he tried to symbolize the passionate inner pow-er by designing the small mosaics such as the geometrical patterns whirlpool patterns and the indecent meanings all over the costume. Klmt's this kinds of attemps shows a Stil Kostume as the external outcome of the inner spiritual activities like art and it establishes a basis for the theory of costume are which deals with the concepts of costume from the artistics points of view. This tradition playing an important role in the contemporary history of costume even has been still inherited up to today.

• Journal of Nutrition and Health
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• v.41 no.8
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• pp.767-775
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• 2008

Uncoupling protein-1 (UCP-1) plays a major role in thermogenesis at brown adipose tissues and has been implicated in the pathogenesis of obesity and metabolic disorders. The purpose of this study was to estimate the effects of A-3826G polymorphism in 117 Korean prepubertal children aged 8-11 years olds. Anthropometry by bioelectrical impedance analysis method, plasma lipid profiles by auto-biochemical analyzer and UCP-1 genotyping by PCR-RFLP were done. The frequencies of UCP-1 genotypes were AA; 17.7%, AG; 57.8%, GG; 26.6%. The frequencies of each G allele (55.5%) was similar to Japanese's (49%) and higher than Caucacian's (25%). No correlation UCP-1 polymorphism and BMI (kg/$m^2$) or the degree of obesity described by the relative percentiles of the standard weight according to height in prepubertal children. However, plasma total- and LDL-cholesterol were significantly increased in G allele when sex, age and weight were adjusted. Our results suggested that G allele of UCP-1 gene was stronger risk factors in hyperLDLcholesterolemia than A allele. This impact might be progressed as the precaution against the revalence of obesity based-metabolic disease.

• 재활복지
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• v.17 no.4
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• pp.27-51
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• 2013

The present study aims to examine the assistive technology service operation system[ATSOS] of the support system for independent living[SSIL] which was introduced after the enactment of the Law of Assisting the Independence for Persons with Disabilities[LAIPD] and to discuss its implications in the development of the assistive technology service delivery system[ATSDS] and the related measures for promoting the assistive technology industry in Korea. For this purpose, the literature review and the field study were employed. The research findings showed that the Japanese SSIL, which adopted the user payment system as measures to establish the sustainable ATSOS, arranged the consumer participation structure through substantial cooperation among related government departments. The result of this study indicates the need to secure the consumer's right to choose in a comprehensive utilization process of assistive technology services as for the establishment of the ATSDS in Korea. Furthermore, the arrangements for practical cooperative strategies among related government departments are encouraged.

• The Journal of the Convergence on Culture Technology
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• v.9 no.5
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• pp.779-785
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• 2023

In the creation of non-verbal dance performance, stage costumes are an important element of visual expression and serve an expanded role in addition to its fundamental decorativeness, representation of status reflective of the historical setting of the act and functionality for the dance movement. We intends that the purpose of this research is to analyze the expanded role of the costumes in the creative ballet <'That' Girl>, and through this exercise, provide foundational data on and suggest new future directions for stage costume design. <'That' Girl> is composed of two acts, offering condolences and eliciting empathy by conveying the fear experienced by the victims of the time. The second dance act representing freedom and "Haan" requires this expanded application of costume design. The costume design was inspired by the "Statue of Peace" representing comfort women, and completed through three draft designs and material experiments testing the ease of operation of the strings and fabrics installed in the costumes as well as the functionality of the associated ballet movements. In conclusion, expansion of time & space, expansion of form and expansion of symbolic expression were shown in the dance of liberation using strings wrapped around the arms and through the cloth embodying 'Haan' hidden in front of the costume.

• Journal of the Korean Society of Costume
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• v.17
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• pp.29-43
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• 1991

Yu was a type of dress worn on the upper part of the body which was commonly used in Northeast Asia. It was originally used by the Northern race for the need of courtesy as well as protecting cold. It was believed that Yu in Northeast Asia, which was called Kaftan, was came from Scythai lived in North Eurasian land around the Black sea. Scythians were the first-formed horse-riding race in the world and their civilization influenced those of far Asiatic sector along the steppe route. As their power expanded, their costume culture transmitted to the East(China, Korea, Japan). The upper garment, Yu, was characterized by the left-sided collars, narrow sleeves belted at the waist to the length of the hip line and the tight trouser on the lower part, which we commonly called HoBok(胡服) style. 1. Yu in Northeast Asia was originated from the Eurasians, Scythian Culture. Being exchanged, active style costumes were widely used among Chinese, Koreans and Japanese throughout centuries' including $4{\sim}8$ century. 2. Chinese Yu had a style of wide-sleeves and right-sided collars. The traditional costumes of Han race are consisted of wide-sleeved Yu on the upper and long-skirt on the lower part of the body. Before the adoptation of HoBok during reign of King Jo Mooryung in 307. B.C., HoBok style had already found in the remains since the Sang period. There were various names among Yu during the Han period. Seup, Sean Eui, Kye, Kyu were one of the styles and several names were meant for collar and sleeves. During $4{\sim}8$ centuries, clothes of right-sided collar were found, superior to that of left-sided and narrow sleeves were widely used both the royal and the humble. Various styles of decoration were seen in Yu around neck, back and sleeves comparing other nations. 3. Yu, in Korea, was typical style of Northern-bound HoBok. Both men and women had similarity in Yu style, narrow sleeves, left-sided collar, belted at the waist and to the length of hip line. Influenced by Han race, in the $4th{\sim}8th$ centuries, dual system of collar was found. But we cannot see major change in Yu and finally was connected to the present. 4. The original design of the Japanese costumes was not similar to that of Northern nomadic hunting race, which was suitable for horse-riding activities. Owing to the climates along the island, we could see various conditions ranging from the cold and to the warm. Influenced by the climates, pulling over the neck(Pancho style) were major design in Japan. As Korea was advanced earlier than Japan, Korean landed Japanese territory showing clothes. So primitive costumes had changes in style. During the $4th{\sim}8th$ period. The Korean mode was found in Haniwa (which was built to make sacrifices to the dead King) and costumes in Jeong Chang Won. Among the costumes in Jeong Chang Won, we put 3 or more costumes to the category of Yu characterizing elements of Korea and Tang period. From the $4th{\sim}8th$ century, China, Korea, Japan fell into the same cultural category, Scythai. Styles in Yu among three nations, we saw little differences, basically along times. Originated from the West Asia, Yu was transmitted to the far East changing Chinese costumes, Koreans melted it into the traditional elements and then influenced Japan.