• Journal of Popular Narrative
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• v.25 no.3
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• pp.41-66
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• 2019

This paper looks at the readers and publishing strategies of paperback romance novels in the the 1980s based on the 'high-teen' concept. The purpose of this article is to examine the meaning the 'high-teen' concepts as expressed in the media through the publication of paperback romance series in the 1980s. Among paperback romance series, this paper was based on pirated/licensed version of novels published by Harlequin, a Canadian publisher, and the magazine media's advertising promotional phrases that were published targeting the same readers. Since the 1970s, mass media have referred to teenagers as high-teens and called them important consumers. High-teen was a term referring to teenagers in school uniforms, mostly girls, and in the 1980s, 'high-teen' was also introduced as a new consumer market, and the publishing market put forward a number of publishing strategies to attract them. The paperback romance, including , has identified 'high-teen' readers as late-teen girls, sensitive consumers for best-sellers/million-sellers, readers with a tendency to read stories of love, and readers that favor American and Western culture. Since the 1980s, the market for paperback romance has been in the recession, but readers have kept the romance genre alive by accepting and localizing the Harlequin series. With the rise of a new form of media called the 'Web Novel', interest in the romance genre is increasing, and we hope this study will serve as a starting point for a variety of discussions with (women) readers about romance reading/enjoyment.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.315-347
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• 2019

(1986) and (1987) represent the society of 1980s in which the professional baseball game was initiated to cover the irrational military culture. The love and marriage of sports players were the headlines of the media, and the yearly salary of the players was the hottest issue of conversation. The military culture is represented in the scenes where the coaches train the failures and inapt players in extreme drills. The films pinpoint the absurdity of military culture and win-at-all-costs mentality. The collapse of the dictatorial leadership at the end of the films is a metaphor for the collapse of the fifth Republic of Korea. The episodes where the players talk about contract money, and the trade of players and sports business were a new phenomenon of the 1980's. The fact that Oh Hyesung of chooses love instead of victory deals a big blow to the secular ambition for money, victory and dictatorial leadership. His option provides catharsis for an audience oppressed under military leadership and success driven ideology. On the other hand, Oh Hyesung of dies right at the moment of winning the world champion. He achieves neither love nor success. While Oh Hyesung of is a symbol of pure love and gives spiritual comfort to the audience, Oh Hyesung of gives a sense of hopelessness to the audience. Both of the two sports films reflect the representation of the 1980's but received opposing reviews from audiences.

• Journal of Popular Narrative
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• v.25 no.3
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• pp.67-99
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• 2019

This paper analyzed romance novels imported into Korea in the 1980s and examined the traits of Korean girls' culture at that time. To this end, This paper chose as subjects the series of 'high-teen romance' published by Samjungdang, 'princess bestseller' by Seoul Publishing and the 'silhouette romance' by Joongang Ilbo in the 1980s. Through the aspects of the paperback romances, the traits of the artist, the content of the work, and the response of the reader, this paper analyzed the position and affection of romance as a genre in Korean culture in the 1980s. In the 1980s, most of the paperback romances available in Korea were translations of the modern and progressive present lines of Harlequin Enterprise's category romance. There were also many writers who were mostly introduced with progressive characters like Charlotte Lamb. The Harlequin romance depicts a story of sensual love. These translated 1980s paperback romance novels allowed girls in Korea to freely imagine the problems of sex and love. In particular, it showed a new perspective on women's sexuality. In Korean love novels, the sexuality of women was treated as an object for the gaze of men. The novels of female writers as college student who criticized this dealt with women's sexuality, but focused on criticism and resistance to the ideology of chastity. The paperback romance made it possible for women to freely enjoy their sexuality by escaping the ethical standards of reality. In addition, the paperback romance was an escape from the frustration of love. Romantic love in Korean love novels did not lead to the unification of mind and body, and always ended in tragedy. On the contrary, the paperback romance started with the fear of the girl who felt love for the first time, showed the process of winning over anxiety, confirming love and reaching a happy marriage. Through this, girls understood general love that was not subordinated to the ideology of chastity, and accepted love positively. The process of establishing romance as a genre in Korean culture and the traits of its readers have not yet been sufficiently clarified yet. This paper compared the romance genre with the other love novels of the day, explaining the position and meaning of the romance genre in Korean culture in the 1980s. Through this, we were able to chart the historical development of the Korean romance genre.

• Korean Institute of Interior Design Journal
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• v.26 no.3
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• pp.63-70
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• 2017

The purpose of this study is to analyze the inner space of detached houses from 1980 to 2016. It was used 'space syntax program' for analysis and analyzed with intervals of 10 years as 1980~1990, 1990~2000 and so on. The research results will be summarized as follows: 1) Overall, all inner space that was examined shows a trend that integration space tends to increase while segregating space tends to decrease. 2) In the case of the master bedrooms(M B) in 1980s, these were composed of 2 rooms as a front room(F R) and a master bedroom type, but as time went by, the F R which was attached room to the M B disappeared. While inside space of M B attached powder-room and wardrobe instead of the F R of the M B. And F R was an integrated space at first in 1980s, but it began to change to a segregating space to protect personal privacy. 3) The dining(D) and kitchen(K) spaces were strictly separated in the 1980s but began to change to D+K and L+D+K types after 1990. 4) In the 2000s, the most typical living space in every house is continuing to change from an separate space in the other space to an integrated space where it is clearly seen from the kitchen and the dining room in the types as L+D and L+D+K.

• Journal of architectural history
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• v.25 no.2
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• pp.21-30
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• 2016

Autonomia movement that emerged in Italy in the 1960s from workerist (operaismo) communism gives historical and discursive context to Manfredo Tafuri's famous criticism of ideology. His thesis on the death of architecture was a radical criticism of Keynesian intervention which was a strategy to cope with the Great Depression. For him, this capitalist development had taken away ideological prefiguration from architecture. At least Tafuri's this early intellectual phase was formed in the wake of magazine Contrapiano and Antonio Negri's influence. Tafuri almost entirely adapted Negri's thought on the importance of capitalist innovation that was uncovered by Keynes, Schumpeter, and Manheim and the periodization in modern history. When we read Tafuri's text with this concrete context, we can avoid being plunged into his abstruseness. On the other hand, 1980's Korea cannot understand Tafuri comprehensibly. 1980's situation to struggle to acquire democracy prescribed only one mode of reception of Tafuri's historiography in Korea. Tafuri's so-called pessimist view point could not satisfy student activists. They want to take intellectual means to sustain student movement and to secure political dynamics of protest. But at the same time they have anxiety to understand tafuri's thesis that they consider ad a critical theory for Korean Architecture. Double contexts of Tafuri's criticism of ideology bring to light to historicize both Tafuri's historiography itself and reception of his text in Korea.

• Journal of Marine Life Science
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• v.4 no.1
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• pp.14-21
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• 2019

This review paper discussed the decadal fluctuations in the catch of the common squid, Todarodes pacificus (T. pacificus) by focusing on migration and distribution patterns. Since 1980s, changes in T. pacificus catches were due to climate regime shift in Korean waters. Fluctuation patterns of catches were different between the East Sea and the Yellow Sea. Generally PDO (Pacific Decadal Oscillation) phase shows a negative correlation with strength of warm current to the East Sea. In 1980s when PDO was positive phase (+), T. pacificus catch was higher in the Yellow, but it was lower in the East Sea. In 1990s when PDO was negative phase (-), T. pacificus catch showed opposite trend compared with 1980s. Such spatial and decadal fluctuations of T. pacificus catch were due to its northward migration along with the warm current or southward movement against the current. In the East Sea, strong (weak) warm current period, the current path has been shifted toward the East Sea coast of Korea (central East Sea or the coast of Japan). It has a correlation with PDO. In the positive PDO phase (1980s), the fishing ground was located on the eastern side of Ulleungdo, whereas during negative PDO phase (1990s), they were situated near the southeastern coast of the Korean peninsula. In the 1980s, volume transport passing into the Yellow Sea increased, whereas volume transport in the East Sea decreased. This is one of major reason increasing T. pacificus larvae in the Yellow Sea.

• Journal of the Korea Furniture Society
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• v.23 no.1
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• pp.10-25
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• 2012

This article aimed at understanding the characteristics of Swedish furniture design since 1980s in the reference to the major paradigm changes in the contemporary design field. For this, the authors examined the theoretical background of modern and post-modern design paradigms to identify today's design tendencies. And we used this frame in the analysis of the latest examples of Swedish furniture design. The main characteristics of Swedish furniture design since 1980s included 'furniture as art object', 'the succession of the Swedish Modern (neo-modernism)', and 'conscious design for sustainable development'. These could be viewed as the consequences of the choices that the Swedish furniture industry and designers made during the last decade, that was to take plurality and contradiction as the accompanying values of the traditional Swedish modern design.

• Korean Journal of Fisheries and Aquatic Sciences
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• v.30 no.4
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• pp.620-626
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• 1997

Annual biomasses of the hairtail, Trichiurus lepturus, were estimated from the biomass-based cohort analysis (Zhang, 1987), using data of annual catch in weight at age during $1970\~1988$ in Korean waters. Annual biomass of the hairtail was peaked at about 240,000 mt in 1975, and thereafter declined with a slight fluctuation. Adult biomass showed a peak in 1978 with about 55,000 mt. However, it has continuously decreased untill 1980 to the level of 9,000 mt and remained at this level till 1988. Age compositions of the hairtail in the 1980s differed greatly from those in the 1970s. The proportions of older hairtail (>4 years) were very low in the 1980s and even the biomasses of young hairtail $(1\~3\;years)$ were at a low evel in the 1980s compared with the level in 1970s. The 1973 and 1974 year classes appeared to be relatively dominant. The mean value of instantaneous rate of fishing mortality (F) in the 1980s was significantly different from that of the 1910s (P<0.05). Recruitment of the hairtail exhibited a similar trend with stock biomass until 1974, indicating the density-dependent Ricker curve.

• Journal of the Korean housing association
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• v.5 no.1
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• pp.1-7
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• 1994

The purpose of this study was to investigate the difference in the trend of the study of elderly housing for the suggestion of the direction in Korea. This study was the first series about the study of elderly housing and analysed the 164 pieces of researches in Japan. The data were analysed classification with contents first, then examined the class in chronological order, and suggest the trend in the study of elderly housing in Japan. 1. The study of elderly facilities was reported the highest interest and was completed in the latter half of the 1980s except the payment elderly home in Japan. 2. Their second interest was the study of general elderly housing. Rural elderly facilities as a local elderly housing were researched frequently. 3. The study of housing for three generation was studied much in early 1980s, but decreased concerns these days. The study of housing for the elderly was studied the latter of 1980s and concerns were sustained. 4. Trend of the study of elderly housing was classified as follows; 1950s was the stage of unconsciousness, 1960s was the stage of sprout, 1970s was the stage of blossom, 1980s was the stage in full bloom and then the study was peak in 1986 and slowly decrease the concern. 5. In 1990s the study of elderly housing was moved into elderly facilities in a consumer's view and older people's life their family relation.

• Journal of the Korea Furniture Society
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• v.24 no.1
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• pp.1-14
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• 2013

Since the 1980s the development of American art furniture was embodied its concept by second-generation furniture artists affected and educated from the first generation that has implanted art furniture fundamental values. Besides, embracing inevitably needs of the new era going with the social change rather than dwell on the nature of mere handicraft era, it has evolved with economic revival in the United States, the attention and increased consumption of the public, and ongoing government-sponsored. And more recently, the American contemporary Art Furniture faces another change in the non-boundary phenomena between art and design. American art furniture since the 1980s are summarized as three major trends: Art furniture embellished with traditional hand-craft, Art furniture featured the individualistic avant-guard characteristic, Art furniture eroded the distinction between art and design. By analyzing focusing on the furniture artists and their works in contemporary art furniture deployment aspects since the 1980s, the purpose of this study can be utilized as a method to measure the forward direction, internationally competitive, creativity, and artistic value of the domestic art furniture.