• Tunnel and Underground Space
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• v.9 no.4
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• pp.273-281
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• 1999

• Journal of the Korean Home Economics Association
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• v.34 no.2
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• pp.5-30
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• 1996

The purpose of this study is to observe artistic of Expressionism reflected to works of European costume designers by analizing works of seven major representative costume designers in the twentieth century. They are Mariano Fortuny, Paul poiret, Madelene Vionnet, Jean Patou, Jeanne Lanvin, Gabriel Chanel and Elsa Schiaparelli. These designers deployed individual and various creative costume design work with peculiar expresive techniques, which is based on the Expressionism. Although each creative work was made in extremely unique sense, there was comon expressive spirituality I their creative activity. The findings are as follows : 1. Based on the "Medieval-directed characteristic" which arose over all fields of art of those days, a modern and reformative clothing beauty was created by reanalyzing traditional motive. 2 Characteristic of Cubistic Expressionism were described in overall silhouette of clothing and fine decorative element. 3. Fantastic Expressionism, which pursued basic worth from the primitive and ethnic customs, effected costume style of early 20th century and draw such designers as Mariano Fortuny, Leon Bakst, Paul Poiet, Elsa Schiaqarelli to adopt intensive and primary color. And it also gave an impact against traditional concepts by accepting fantastic oriental Exoticism.Exoticism.

• Journal of the Korean Society of Costume
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• v.52 no.4
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• pp.51-63
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• 2002

The purpose of this study is to review the symbolic meaning in 20th century men’s fashion through analyzing of social environment factors. After recent industrial society, men had expressed their privilege, prestige and social power according to fashion. Men's fashion at the beginning of the 20th century was emerged as the images of robustness and strictness with perfect cutting, thick and stick fabric and dark color that were influenced by british style. It was symbolic meaning of authority orientation which showed the superiorities of social and sex classes. It was beginning of change according to social phenomena. The world war Ⅰ,Ⅱ and change of lifestyle by material affluence in automobile industry mollified rules of men's fashion. It showed a serenity of living. Also, the growth of young culture changed trickle-down of men's fashion into bottom-up and showed opposition for elite culture in fashion. These change particularly became acceleration by Individualism, open-society and the collapse of sex class. Men expressed sexual and inherent desire for fashion that was no longer concerned with symbolizing of authority but rather with pleasure pursuit.

• Journal of the Korean Society of Costume
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• v.61 no.1
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• pp.84-93
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• 2011

The purpose of this study is to analyse the fashion image behind the colour black formed by existentialism in the 20th century. Human beings started to ask themselves questions about their nature and existence by undergoing two world wars in the 20th century. Existentialism was born out of these philosophical thoughts and in particular, French existentialists led the public discourse of the time and expressed their philosophical thoughts and ideas through black fashion. Therefore we revealed the existentialistic meanings of black by studying the French existentialist ideology and their black fashion. The thoughts of existentialism became popularized in France by French philosophers. Sartre especially played a big role in the popularization of existentialism in France. The black fashion worn by existentialists became popularized along with the ideology that it expressed. Sartre's thoughts on existentialism are summarized in existence Precedes Essence, self-reliance, and engagement. From these, the fashion image behind the colour black formed by existentialism was analogized to resistant image, nihilistic image and self-reliance image.

• Journal of the Korean Society for Railway
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• v.9 no.4 s.35
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• pp.379-387
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• 2006

The objective of this study is to describe the influence of railway and railway station on the change of city structure in Korea in the early 20th century. In the 1900s, railway was constructed in Japanese concessions and in new pore cities such as Incheon, Busan, and Wonsan. In the 1920s, railroad construction became related with the cities, which could produce the corps. In the 1930s, railroad also became related to the colonial industrial cities. Traditional city structure was then completely changed because new city structure was focused on not Seoul but Japan or harbors towards Japan. So Korean cities, which were netted by railway, had become the subsystem of Japan in the early 20th century. Korean cities have developed on the basis of this system until 1945. For example, the twelve main cities were chosen through the relationship with Japanese life, and the provincial office governments moved near railroad stations. However nowadays, these cities have possibilities of being international cities, such as Incheon and Busan, because of the extroversion of these cities.

• The Journal of Korean Medical History
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• v.33 no.2
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• pp.23-36
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• 2020

In this paper, we look at the basic bibliographic details, such as the publication period, of the 20th century Joseon dynasty royal prescription book, Eoyong Tangjechaeg (御用湯劑冊). Through the process of searching for the royal family members who were given the prescriptions from the royal prescription book, as well as the doctors who gave the prescription, we aim to study its purpose as well as its value in terms of medical history. By studying this piece of medical literature, we will be able to shed light on the Joseon dynasty's royal Korean medicine practices as it passed through the turbulence of history during times such as the Korean Empire (1897-1910) and the Japanese colonial era (1910-1945). We illustrate the changes that took place in royal Korean medicine at the time, and also consider the trends of royal prescriptions as well as their significance from a Korean medicinal standpoint.

• Korean Institute of Interior Design Journal
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• no.25
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• pp.61-67
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• 2000

The goals and meanings of this papers are set up to analyse the trend of Design immerged in 21st century with studying Fusion culture which is related with Digital concept that is the most spot-lighted in 21st century and summarizing the effects of this tendency given to Design. We are experiencing Digital Revolution which leads us from Analog Society to Digital society. Also, this means that New Millenium starts with characteristics of [End of Century]. I focus on the concept of Fusion-design, in the view of Art-Nouveau and Post-Modernism which came over the end of 19th century and the beginning of 20th century. Furthermore, I define the Fusion-design of Digital era and find the way that design of 21st century develops.

• Journal for History of Mathematics
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• v.20 no.1
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• pp.17-32
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• 2007

In this paper, I review the origins, activities, and influences on the future mathematical development of the Analytical Society of Cambridge. The story of the late 18th century Scotland mathematicians and the early 19th century Cambridge mathematician such as Woodhouse, and the Analytical Society's history show that the Analytical Society wasn't a completely new and reformative meeting. This article reveals that the new analytical studies developed characteristically in Britain's specific intellectual and social context of the late 18th century and the early 19th century.

• Proceedings of the Korea Society of Costume Conference
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• 2003.10a
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• pp.77-77
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• 2003

If we look closely to the power shift of the powerful countries historically. during the 16th century Spain's power came from gold, colony trade, the mercenary force, close relation with the thrown, 17th century Netherlands owes their power to trade, capital market, the marines, 18th century France owes it to population, agriculture, public administration, and the army. Also, England had their industry, political unity, finance and trust, the marines, liberalistic principles, a geographical merit of being an island which can be defended well and the 20th century America has their cosmopolitan culture, supernational communication, the capacity of the economy, science technology, military strength, alliances, liberalism international formation. But in the 21st century culture and art will prevail over the information age where technology and knowledge was the key, and it is predicted that this will be the source of power for a strong country. Rolfe Yesson, the head of The Copenhagen Research Center for future studies said, "Information age has ended and in the future Dream Society will arrive which focuses on making distinctions by delivering dreams and emotions to consumers". As cyberspace gradually substitutes reality, cyberspace has become more than an information search engine and has become a place where people fulfill their desires and exchange culture. And as a medium for diffusing culture, the importance of the digital dress-up avatar is predicted to increase gradually.gradually.

• Fashion & Textile Research Journal
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• v.4 no.4
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• pp.347-357
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• 2002

In 1536, two Piedmontese merchants set up workshops in Lyons, and Henri IV encourged further development later in the 16th century. The development of Lyons as a centre of the silk weaving industry was helped by the perfection of drawloom weaving technique there in 1605 by Claude Dangon. In the 17th century, the French silk industry could finally compete with the dominance of the Italian silk trade. The French silk industry was promoted in the mid-17th century under Louis XIV's minister Colbert. In 1667, he published an ordinance creating La Grande Fabrique, a corporation for craftsmen within the silk industry, and Lyons became the undisputed French silk capital. Under Louis X IV, France was becoming the dominant force in Europe in matters of fashion and style. The major innovation of weaving was the Jacquard head attachment, which provided a mechanical means of raising warp threads by a series of punched cards. The are nouveau style did not have much impact on French silk design at the end of the century. Silk manufacturers began to collaborate with haute-couture designers such as the House of Worth. This collaboration with the burgeoning Paris haute-couture industry continued into the 20th century and safeguarded the future production of silk textiles in France.