• 산업진흥연구
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• 제5권4호
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• pp.91-100
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• 2020

미국은 19세기말~20세기초기간에 영국경제를 추월하면서 대기업체제가 출현하였다. 이러한 미국의 성장은 양질 이민의 지속적 유입과 교통수송기관의 혁신적 발전과 전국적 시장형성 및 체계적이고 조직적인 과학기술의 R&D가 이룩한 '미국식 생산양식'현출에 있었다. 1895년이후 10년동안 미국경제는 수직·수평적 통합의 거대합병현상이 일어 300여개 이상의 기업들이 합병에 참여했다. 대기업의 출현이 인식되기 시작한 초기에는 미국내의 시민들은 '부와 기회의 땅' 미국의 전통적 상징이 위협받을 것이라는 우려에서 반(反)대기업운동을 전개하였다. 대기업의 행위를 규제할 정부기구가 설치되고 규제법안이 실행되었으나, 종국적으로는 새로운 경제질서를 수용하고 받아들였다. 이는 대기업 등장이후 초래된 미국의 경제적 번영과 물질적 풍요 및 대기업운영이 이룬 경영관리체제의 효과에 연유된 것을 확인하였다.

• 한국식품위생안전성학회지
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• 제33권4호
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• pp.221-228
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• 2018

19세기말 Mycobacterium avium subsp. paratuberculosis(Map)이 요네병(Johne's disease)의 원인균임이 밝혀진 이후, 불현성 감염된 동물들의 국제적 이동은 요네병을 전세계로 퍼뜨리기 시작하였다. 이러한 요네병이 축산분야에 나타남과 동시에 새로운 형태의 대장염으로서 요네병과 같은 증상을 나타내는 질병(크론병)이 사람에게서도 나타나기 시작하였다. 그러나 Map이 이러한 새로운 대장염의 원인균이며 인수공통전염병의 원인체라는 인식은 20세기 후반 이러한 질병을 앓고 있는 사람의 조직으로부터 Map을 검출할 수 있게 되고서야 나타나기 시작했다. 본 총설은 어떻게 Map이 축산분야와 사람의 공중보건 측면에서 심각한 문제를 야기시키게 되었고, Map 감염에 의한 대장염 환자의 치료가 어떻게 발전되어 왔는지 간단히 요약하고, 축산에서 Map의 통제를 위한 새로운 백신개발 전략에 대하여 소개한다.

• 복식문화연구
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• 제8권2호
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• pp.197-204
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• 2000

With the current of the end of a century and social, economic, political, and cultural turbulence, people take advantage of the various ways to express their stagnation. This study introduces the term representativity and it will explain the men's fashion of the end of a century. On a theoretical basis, the concept of the representativity, image, symbol and imitation which are used as a tool for expression will be examined, and together with this, inner representation and outer representation will be categorized. The inner representation of the men's fashion in the end of a century can be taken for the purpose of connecting the image of masculinity. The image of masculinity is widely spread owing to the mass communication of a consumption-oriented society, so its hard to define that image as one thing specific. Hence, in order to discuss the male gender and mens fashion, New Man phenomenon should be noticed of. 1980's New Man influence has lasted till now. New Man images were largely categorized into two images like New Lad and Iron John after the mid 1990's. Therefore, the image of masculinity is largely classified New lad, who desires success and pursues the hedonistic life style and Iron John, who enjoys thrill and follows economical life style. The image of masculinity has influence on the outer representation how it is imitated and symbolized via many designer's works and street fashion. Two masculinity images are dominant over the men's fashion of the end of a century. One is inhumane and rational corporate power look that stems from symbolization and imitation of New Lad. The other is outdoor casual that originated from the symbolization and imitation of Iron John.

• 복식
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• 제40권
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• pp.5-23
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• 1998

The main purpose of this study was intended to analyze the image of N대-Expressionism represented in the late of 20th century fashion design. By the late 1960s and the early 1970s. the prevailing notion of modernity, which had pushed the limits of art beyond previous boundaries, had begun to lose its urgency. Critics called the new pluralistic era which the West was entering Post-Modern. Furthermore, the predominance of America and the New York scene is diminishing, and artistic leadership is now international. Post-Modernism dialectcally made denial of Modernism as likely as New Image Painting and Decorative Pattern Painting Art in 1970's and it was availed as a dialectcal means for the pre-diction of new comings that would be appeared at painting art in 1980's. New Image Painting has been called as Neo-Expressionism. The N대-Expressionists selected human's feature because appeared flankly, directly irregular agitation in the visual effect and they believed human's destructive and amputate body was cruelty. So they express it on the surface canvas. Under the these background, the image of Neo-Expressionism was represented in the late of 20th century fashion design such as the upside-down image of human feature, the image as ameditation on German myth and history, culture, the ecletic image is made of use a mixture of material. The properties of composition, line, color, texture, and form, common to all plastic art, are now more readily recognized and historically valued in every work. That is, individuality, humanity, and the human condition have been at the core of most Western art and Fashion design. Especially Fashion design has been one of the principal instruments used to examine our nature and to promote the notion of growth, self-understanding, and change.

• 공학교육연구
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• 제9권3호
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• pp.78-89
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• 2006

20 세기말 10년 동안의 경제 침체는 고용과 교육 시스템을 포함한 사회 구조에 여러 가지 극심한 격렬한 변화를 초래하였다. 일본의 대학은 연구 활동에 노력을 기울였지만, 교수들은 공학 교육에 필요한 교수법의 개발에는 별로 노력하지 않았다. 그러나 18세 인구가 감소하면서 대학의 태도 변화가 요구되었다. 대학 교육은 더 이상 엘리트만을 위한 것이 아니라 젊은이들 사이에 아주 대중화되고 있다. 또한 WTO와 APEC과 같은 조직의 설립에 따른 산업사회의 '세계화(globalization)'의 영향을 받았다. 일본공학교육인증원(JABEE)은 1999년에 국내외 문제에 대처하기 위해 설립되었으며, 2005년에 워싱턴협약(Washington Accord)의 정회원이 되었다. 일본 기술사법(Professional Engineer Law)도 JABEE와 연계되어 개정되었으며, 사회 구조의 변화와 함께 공학 윤리의 중요성이 인식되었다. 일본공학교육협회(JSEE)는 JABEE를 지원하는 활동을 통해서 일본 공학 교육의 개혁에 공헌하고 있다. 이 논문은 현재 일본 공학교육이 직면하고 있는 문제점들과 일본의 공학 교육을 재편하기 위한 JSEE의 역할을 기술한다.

• 한국의상디자인학회지
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• 제4권3호
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• pp.43-54
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• 2002

Some factors had influence upon the grotesque image formation expressed in fashion: for instance, thanatos, religions, fin de siecle (end of the century), the aesthetics of ugliness, subculture group's resistance and technology development, etc. Those factors have formed a grotesque while exchanging influence each other, and have following features: First, the thanatos, which is destructive and aggressive instinct of the inner world of human being, creates frightening object and motif to form the images of grotesque. Second, from religious point of view, the church made the Devil a tool for maintenance of power: They manipulated physical body and give a damage to it to sublimate it in holy existence, so that they could feel catharsis. Third, there was fin de siecle (end of the century) to let people have negative life attitude, such as uneasiness on following century, eschatology, skepticism and nihilism, etc. Fourth, the ugliness having unpleasantness and disharmony occupies governing position when our society becomes corrupted and uneasy, and the aesthetics of ugliness discloses the inconsistency of ideal and beautiful life in the grotesque images. Fifth, subculture groups, i.e., the lower classes, homosexual and the youth's group, etc, form the grotesque images by political and ideological resistance, complaints and specific identity, etc concerning governing culture keeping traditional ethics consciousness. Sixth, recent technology development has destroyed a boundary between human being and machinery, and bio-technology development has created transplant operation, plastic operation and other human body transformation operations, and genome research, etc has raised human being's identity.

• 한국의류산업학회지
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• 제18권3호
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• pp.289-300
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• 2016

This study surveys children's costumes and games from the 11 Genre paintings by Junkeun Kim in the book "Korean Games(Stewart Culin 1858-1929)". The character of the general dress-costumes, games and the culture of life from the late $19^{th}$ century in genre painting of Junkeun Kim are as follows. The study results on the games are as follow. The boy's games are kite-flying, spinning tops, playing shuttlecock with the feet, blindman's buff, yut("Four-Stick Game"). Girl's games are seesaw with board, blindman's buff, marbles. Combined games are mount shoulder, sledge, tightrope walking for men with boy. The strengthen one's body type were seesaw with board, tightrope walking, the compete score type were playing shuttlecock with the feet, marbles and the multi complex type were yut("Four-Stick Game"), kite-flying. Through genre painting in the $19^{th}$ century we know a boy's 'Jeogori 'and 'Ba-ji' were similar to a modern man's and boy's 'Hanbok' with a traditional method of wearing. We believe that the originality of a traditional costume was an unchangeable characteristic. Girl's 'Jeogori' and 'Chi-ma' changed in length and width, and method of wearing; however, the basic shape did not change. The analysis for artist's genre painting which was ordered by a foreigner and the late of $19^{th}$ century's children's costume and game of life culture is useful to match the counters and show how to wear a modern Korean costume used to understand the 'Hanbok' and establish a costume of life.

• 한국산학기술학회논문지
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• 제10권4호
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• pp.846-851
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• 2009

근대사회의 형성은 과거의 공간을 변화시켰을 뿐만 아니라 새로운 내용과 형식의 공간도 등장시켰다. 근대 사회를 통해 등장한 새로운 공간들은 건축과 도시 속으로 흡수되면서 공간에 대한 과거의 전통적인 인식에 변화를 가져왔다. 이러한 맥락에서 볼 때, 근대 형성기의 건축과 공간은 근대건축의 원형으로서 20세기의 근대건축과 공간을 이해하는 중요한 단서가 된다. 본 연구는 이와 같은 문제의식 하에, 근대적 공간과 그 인식의 형성을 풍경식 정원을 통해 살펴보고자 한다. 본 연구에서 풍경식 정원을 주목하는 이유는 풍경식 정원이 18세기말부터 사회의 주도적인 과제가 되었던 몇 개의 주제들 중 하나로서 유럽 전체에 영향을 미쳤기 때문이다. 따라서 풍경식 정원을 분석함으로써 유럽 전체에 나타나는 공통적이고 일반적인 근대적 공간인식을 파악할 수 있다.

• 복식
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• 제50권2호
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• pp.167-182
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• 2000

The purpose of this study is to examine the art nouveau fashion represented in the end of the twentieth century. The characteristics of art nouveau are naturalism, medievalism , exoticism, and decadentism. The influences of art nouveau were seen in the fashion of the late nineteenth century : S-curve silhouette and organic curve motives printed on hems. Art nouveau has reappeared in modern fashion trends such as romanticism , decadence, ecology, ethno, and fusion. To sum up, art nouveau fashion at the end of the twentieth century is classified into four shapes. First, art nouveau appears in naturalism. Influenced by the arts and crafts movements and naturalistic trend, it has reappeared at the end of the twentieth century in themes like 'art & craft'. This expression technique is to objectively nature and to represented art nouveau textiles. Second, S-curve silhouette appeared at the end of nineteenth century's fashion with the art nouveau influenced rejection of the bustle style. At the end of the twentieth century, the design , emphasizing the hip, is represented in fashion collections as a phenomenon of romanticism . Especially the art nouveau silhouette of the end of the twentieth century does not represent S-curve silhouette. But , it emphasizes the hip only. Third, Art nouveau exoticism by symbolism is influenced by Chinese and Celtic art, the Middle Ages, and the exoticism that appeared in fashion at the end of the nineteenth century : harem style, kimono style, and turbans. Exoticism at the end of the twentieth century is expressed by optical flower prints and successive floral print arrangements as seen in the themes of ethno and fusion. Fourth, one of the characteristics of art nouveau, decadence is influenced by the pre-raphaelite brotherhood. This is expressed in the images of vampires, and symbolism expressing grotesque insect motives and decadent successive curves. At the end of the twentieth century decadence is represented in fashion ; grotesque insect motives, tatto looks of organic curve motives celtic hair style, see-through fashion, grotesque make-up . Besides hair style techniques, decadent expressions applying art nouveau paintings also appeared. Finally , art nouveau fashion represented as a fashion trend at the turning point to the new millennium is one of great significance as an organic, an environment-intimate and continuance-possible design in a future.

• 복식
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• 제63권2호
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• pp.82-97
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• 2013

The aim of this thesis is to investigate the change of men and women's costumes in late 18th century and early 19th century in view of its ideological streams by examining the portraits of the painter Jacques-Louis David. The method of investigation used was to select 29 pieces of portraits from 1766 to 1825, which showed the clear descriptions about the costumes and to analyze the costume's forms, ornaments and the headdress. The category was divided into 3 stages in terms of the changes in costume. The first stage, from 1766 until 1788, is the one of turnaround from the Rococo costume to the early neoclassical one. The typical Rococo costume was incrementally transformed into a simpler design without ornaments, and then natural silhouette in men and women's costumes started to appear from 1783 until 1788. This might be attributed to the neoclassical trend which was affected by the enlightenment ideology. The second stage, from 1788 until 1795, is the period of change from the costume of the early neoclassic style to the typical neoclassic style and also the time from the 1793 to 1795 was regarded as the peak of neoclassic style when the effect of enlightenment began to decrease while one of neoclassicism exerted its strong influence on the costume. The third stage, from 1795 until 1825, similar to the previous neoclassical style was also notable in its turning into producing the empire dress of Empire style. From 1820 on, it was a period that showed signs of influence from romanticism while the effect of neoclassicism started to become more diminished.