• Journal of the Korean Society of Costume
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• v.62 no.4
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• pp.164-180
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• 2012

This study focuses on the hats in the advertisements of the newspapers from the Greater Korean Empire to the Time of Independence. There were Yeomo(禮帽), Jungsanmoja(中山帽子), Jungjeolmoja(中折帽子), Women's hat, Undongmoja(運動帽子), and Hakdomoja(學徒帽子) from 1897 to the 1900s. The names of the hats were written with Chinese characters as there was no specific name for women's hats. There were a lot of hats in the 1910s; Jungjeolmoja, Jungsanmoja, Hukyeomoja(黑禮帽子), Panama, Doriuchi(鳥打;とり-うち), Maggomo(麥程帽), Ilkyomoja(一交字帽), cheongyeonmo(靑年帽), Jajacheongyeonmo(刺子靑年帽), Hakaaksangmo(學生帽), Undongmo, Laparyunmoja, Banghanmo(防寒帽), Mokchulmo(目出帽), Pungbangi(風防耳), Nambaui, and Pungdongi(風憧耳). Most of the hats were western hats for men. From the 1920s to 1930s, the hats were classified as to the shape and uses as compared to before that period. The hats were advertised in the newspapers such as Jungjeolmoja, Jungsanmoja, Panama, Doriuchimo, Maggomo, Ilkyomoja, cheongyeonmo, Jajacheongyeonmo, Hakaaksangmo, Undongmo, Banghanmo, Mokchulmo(目出帽), Adongmokchulmo(兒童目出帽), Pungdongi, and Pungchasamsangun(風遮三山巾). There is little information about hats from the late 1930s to the time of independence because of the censorship of the press. The hats during that period were almost the same as the before that time. There was a new name of a cap, Jeontumoja(戰鬪帽子) which was for a soldier. The hats in that period were one of the westernized items with shoes before the westernization of the Korean costume under Japanese imperialism. Furthermore, the western hats could be spread by the men who were in the center of the society. On the other hand, women's western hats were not common because women had rarely worn them before that period. They just wore traditional winter caps steadily.

• Journal of the Korean Society of Costume
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• v.57 no.10
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• pp.24-34
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• 2007

The purpose of this study is to examine the pieces of 100 fabrics excavated from unknown woman's tomb Incheon, by analyzing woven methods, names of the fabrics, the kinds and the shapes of the patterns. The characteristics to assume the period of the fabrics are as follows. The geumsundan which was woven peacock insignia at chest and back area was excavated for the first time from the tomb of Joseon. Peacock insignia woven with satin weave using supplementary golden wefts, wrapped gold thread. These kind of fabrics were usually imported in the $15^{th}$ century, according to the old documents, 'Nogeoldae' 'Joseonwangjosilrok' written at the end of Goryeo or early in Joseon. Thus, these relics are from about $15^{th}$ century. From this tomb, the mixture fabric of cotton and ramie are excavated. According to another excavated cases, the mixture fabric of cotton and ramie appears from the period before the Japanese Invasion of Korea in 1592, and after the invasion, there are usually mixture fabric of cotton and silk. This also tells that these fabrics show the characteristics of those from the early period of Joseon Dynasty. The rounded patterns of Jangot is only shown from the fabrics of late Goryeo Dynasty, and the cloud pattern of an upper garment with a squared neckline is shown from the early Joseon Dynasty. So, the patterns from these excavated costumes are ranged from the late Goryeo Dynasty to the early Joseon Dynasty. To assume the period through the overall study above, these relics show the characteristics of the $15^{th}$ century fabric.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2009.05a
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• pp.109-112
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• 2009

The purpose of this study was to examine the differences in the brain activation evoked by music arranged in major and minor key used with an identical motion film during the fMRI testing. A part of the audio-visual combinations composed by Iwamiya and Sano were used for the study stimuli. This audio- visual clip was originally developed by combining a small motion segment of the animation "The Snowman" and music arranged in both major and minor key from the original jazz music "Avalon" rewritten in a classical style. Twenty-seven Japanese male graduate and undergraduate students participated in the study. Brain regions more activated by the major key than the minor key when presented with the identical motion film were the left cerebellum, the right fusiform gyrus, the right superior occipital, the left superior orbito frontal, the right pallidum, the left precuneus, and the bilateral thalamus. On the other hand, brain regions more activated by the minor key than the major key when presented with the identical motion film were the right medial frontal, the left inferior orbito frontal, the bilateral superior parietal, the left postcentral, and the right precuneus. The study showed a difference in brain regions activated between the two different stimulus (i.e., major key and minor key) controlling for the visual aspect of the experiment. These findings imply that our brain systematically generates differently in the way it processes music written in major and minor key(Supported by the User Science Institute of Kyushu University, Japan and the Korea Science and Engineering Foundation).

• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.7
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• pp.767-777
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• 2012

This study analyzed the system and arguments on the light-pink official uniforms and investigated the backgrounds and principles on the changes of the Sibok system. A study on light-pink danryeong in the latter part of the Joseon Dynasty is a de facto study on Sibok since the name of the light-pink official uniforms (implemented at the time of King Seonjo) changed from Sangbok to Sibok. Sangbok is discussed to explain the name change from Sangbok to Sibok and distinguish their usages; in addition, Gongbok is examined to understand the characteristics of the Sibok system. The Annals of the Joseon Dynasty (books written by scholars) and related laws are used as research materials. The research results are as follows. The name of the light-pink uniforms (a custom before the Japanese invasion in 1592) changed from Sangbok to Sibok at the time of King Gwanghaegun and the light-pink uniform was used as a relatively light formal uniform compared to Sangbok. Sibok was added to the law Sok-dae-jeon at the time of King Yeongjo (because the king respected the custom) and its color rank system was denoted from light-pink and red. Sibok was revised to light-pink, blue, and green under the law Dae-jeon-tong-pyeon that was promulgated at time of King Jeongjo. In the development of the Sibok system in the latter part of the Joseon Dynasty, the color rank system of Gongbok was reflected. The sovereign ideas in the official uniforms in the latter part of the Joseon Dynasty (revealed in the study of the system and arguments on the light-pink official uniforms) were the thoughts that respected the custom and the principles that distinguish ranks to establish a Confucian based hierarchy.

• Journal of the Korean Society of Clothing and Textiles
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• v.41 no.2
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• pp.197-211
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• 2017

Modernization drastically changed the cosmetic culture of Korea and Japan. A classic case that shows this is the appearance of the term 'Hyangjang (香粧)'. This paper investigated the background to the formation of the term Hyangjang (香粧), and reviewed the aspects of cosmetic culture that changed with the emergence of Hyangjangpum (香粧品), or cosmetics containing perfume. The investigation revealed that the term Hyangjang (香粧) appeared for the first time in Hirano (1899), a literature published in the Meiji period in Japan, and that the new term Hyangjang (香粧) had been formed against the background of advanced Western synthetic perfume and played an important role in contemporary techniques for the manufacture of cosmetics. The term Hyangjang (香粧) and cosmetics containing perfume, or Hyangjangpum (香粧品) were then introduced from Japan to Korea. In Korea, the term 'Hyangjang (香粧)' appeared for the first time in an advertising copy written by Hyeon Hui-un, a pioneer of the Korean modern theater movement during the period of Japanese colonial rule. At that time, cosmetic companies in Korea and Japan were releasing cosmetic products that contained perfume that stimulated a women's desire to purchase them by emphasizing 'fragrance' in their advertising. Existing public tendencies to regard a fragrant smell from a made-up face as vulgar were changing and the public perception of fragrance were also changing. The appearance of Hyangjangpum (香粧品) indicates that the existing cosmetic culture revolving around visual sense changed into a complex cosmetic culture involving olfaction. This change in culture is significant in that it heralded the direction of future development towards cosmetic culture that uses increase combinations of different senses including touch, taste, and hearing.

• Korean Journal of Plant Taxonomy
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• v.47 no.4
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• pp.328-335
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• 2017

The Korean medicinal plant name written in Chinese script, Jingyo, is somewhat confusingly used in the Korean modern literature. This name was assigned to at least three species, with examples being Gentiana macrophylla, Aconitum pseudolaeve, and Justicia procumbens. To clarify the taxonomic identity of Jingyo, these names were examined based on the Chinese classics and Korean classics and compared them with the modern flora of both China and Korea. In China, Jingyo was considered as Justicia gendarussa or Gentiana macrophylla. In Korea, Jingyo was considered as A. pseudolaeve or J. procumbens. However, it was concluded that Jingyo is not distributed on the Korean Peninsula. In addition, although the Hangeul name Jinbeom was the result of the misreading of the Chinese script Jinbong, another Chinese term for Jingyo, this name is used in many modern studies related plant taxonomy. Hence, we also propose Jinbeom as the conserved Hangeul name of A. pseudolaeve.

• Korean Journal of Oriental Medicine
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• v.15 no.2
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• pp.1-19
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• 2009

Some researchers who once studied Uirimchualyo have paid good attention to the connection between Donguibogam & Uirimchualyo because of their similarity. So, after reviewing the Sequel of Uirimchualyo, in terms of its editing purpose and the list of contents, especially focused on throat sickness, here I report on the conclusions I come to. Firstly, the Sequel of Uirimchualyo was a monumental edition in concert with the enthronement of Kwanghaegun, and printed at demand of new medical knowledge, which was required to add to the existing Uirimchualyo, written by best-noted doctor, Yang Yesoo, and in need of simpler medical textbook to help people's recovery from the damage of Japanese invasion in the year of Imjin & Jeongyoo. Secondly, all the contents read in the Sequel of Uirimchualyo, were quoted from Kogumuigam, compiled by Kong Shin, Manbyonghoichun, edited by Kong Jeonghyun, Dangaeshim bupbuyo, published by Bang Kwang, and Uihakipmun, edited by Lee Cheon. Thirdly, The reason of similarity between Uirimchualyo and Donguibogam is that the Sequel of Uirimchualyo was made by adding new medical knowledge to the existing Uirimchualyo, and that many of contents of the Sequel of Uirimchualyo were quoted in Donguibogam. Fourthly, regarding throat sickness, medical knowledge on acute fever was supplemented in the Sequel of Uirimchualyo, and the emergency medical treatment methodology like "blow-in-throat" was newly introduced. This treatment is worth being employed to treat acute suffocation with swollen throat in modern acute-infection sicknesses. Fifthly, the Sequel of Uirimchualyo made up for brief description of the existing Uirimchualyo, offered more convenience of users compared with too overscaled Hyangyakjipseongbang & Uibangryuchui, and was more complete than Kookupbang which was loose, incomplete, and sometimes risky. And it took firm hold before Donguibogam, and eventually made a great contribution toward Donguibogam.

• Journal of the East Asian Society of Dietary Life
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• v.12 no.6
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• pp.502-516
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• 2002

Imwonshibyukji is a copying manuscript written around 1825, the 27th year of king Soonjo of the Chosun Period. It is a massive home encyclopedia of total 52 books and 100 volumes. It was quoted from many Chinese literatures The unpublished 'Jeongjoji'of its 17-20th volumes was analyzed to study the cooking methods on the Korean rice cakes (dduck) and studied for the degree of their usefulness and medical values in the light of the cooking and processing science. The book introduced 6 kinds of Korean rice cake: sirudduck (steamed rice cake), chinundduck (steamed and struck rice cake), zizinundduck (small oil fried rice cake), danggui (steamed rice cake mixed with rice power and honey), hondon (=danja: boiled and stuffed rice cake) and butu (fermented rice cake), all of which were composed of total 64 items. The main materials fur the Korean rice cake were as follows: sirudduck and butu were nonwaxy rice powder, chinundduct dinggui and hondon were glutinous rice powder, and zizinundduck was wheat flour. The side material was mainly natural food with the effect of a medicine. The literatures quoted in Imwonshibyukji are as follows: 4 Korean books including Ongheejabji were quoted total 28 times (41.5%), 5 Chinese books including Junsengpaljeon were quoted total 35times (52.2%), and I Japanese book Whawhansamjedohoi was quoted total 4 times (6.0%). The Korean rice cakes quoted in the Korean literature so far exist but the Chinese ones no longer exist. In the comparative analysis of Imwonshibyukji and other contemporary literatures, Chosunmoossangsinsikyorijebub was the most similar one to the book among others.

• Journal of English Language & Literature
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• v.54 no.1
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• pp.149-167
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• 2008

Korea has persisted in the notion of "ethnic nationalism." That is "one race, one people, one language" as a homogeneous entity. This social ideal of unity prevails, even in overseas Korean communities formed by voluntary and involuntary displacement in the turmoil of modern history: communities made intermittent with the Japanese colonial occupation and with postcolonial encounters with the West. Given that the Korean people suffered from the trauma of deprivation of the language caused by the loss of the nation, nation has been equated with the language. Accordingly, "these bearers of a homeland" are also firm Korean language holders. The linguistic patriotism of unity based on the intertwining of "mother tongue" and "father country" has become prevalent in the collective memory of the people of the Korean diaspora. Korean American literature has grappled with this concept of the national history of Korea and the Korean language. The aesthetics of Korean American literature has been marked by an influx of literary resources of 'Korea' in sensibilities and structure of feelings; Korean myth, folk lore, songs, humor, traditional stories, manners, customs and historic moments. An experimental use of the Korean alphabet, Hangeul, written down as pronounced, provides an ethnic flavor in the midst of the English texts. Despite its national framework of mind, however, Korean American literature as an interstitial art reveals a keen awareness of inbetweenness, and transnational hybrid identities. By exploring the complex interrelationships of cultural and linguistic boundary-crossing practices in Korean American literature, this paper argues that the poetics of the Korean diaspora challenges the closed structure of identity formation, and offers a transnational sphere to deconstruct a rigidly demarcated national ideology of "one race, one people, one language," for the world literary history.

• Publications of The Korean Astronomical Society
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• v.35 no.3
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• pp.43-57
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• 2020

Hong, Dae-Yong manufactured the Tongcheon-ui (Pan-celestial Armillary Sphere) with cooperating clock researcher Na, Kyeong-Jeok, and its craftsman An, Cheo-In, in Naju of Jeolla Province in 1760 ~ 1762. Tongcheon-ui is a kind of astronomical clock with an armillary sphere which is rotated by the force generated by a lantern clock's weight. In our study, we examine the lantern clock model of Tongcheon-ui through its description of the articles written by Hong himself. As his description, however, did not explain the detail of the mechanical process of the lantern clock, we investigate the remains of lantern clocks in the possession of Korea University Museum and Seoul National University Museum. Comparing with the clocks of these museums, we designed the lantern clock model of Tongcheon-ui which measures 115 mm (L) × 115 mm (W) × 307 mm (H). This model has used the structure of the striking train imitated from the Korea University Museum artifact and is also regulated by a foliot escapement which is connected to a going train for timekeeping. The orientation of the rotation of the going train and the striking train of our model makes a difference with the remains of both university museums. That is, on the rotation axis of the first gear set of Tongcheon-ui's lantern clock, the going and the striking trains take on a counterclockwise and clockwise direction, respectively. The weight of 6.4 kg makes a force driving these two trains to stick to the pulley on the twine pulling across two spike gears corresponding to the going train and the striking train. This weight below the pulley may travel down about 560 mm per day. We conclude that the mechanical system of Tongcheon-ui's lantern clock is slightly different from the Japanese style.