• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.3
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• pp.544-558
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• 1997

Black street style has made unique fashion in popular music such as Jazz, Soul, Rhythm Il Blues. Reggae, and Rap, and it is counterculture and subculture against white. Furthermore, the black street style has played a starring role in the development of white culture as well as black culture, which emerged in direct opposition to the dominant cultures practised by a fraction of fellow countrymen within the black diaspora. The objectives of this study are to examine the social chronology of the black street style and the contemporary fashion, and the influences of the black street style on white culture. The seeds of black's style were sown in the late forties, developing throughout the fifties with the arrival of black immigrants from the west Indies and its examples were zooties, hip cats 8l hipsters, modernists. Rude boy & two-tone was anti·fashion style in sixties and then rastafarians continued in seventies costume is used to convey an essential symbolic class and ethnic message. The latest black's street fashion is hip-hop dress, which is pluralistic and electric, and funk is also erratic. During its ten-year reign as an international style, it has undergone numerous shifts because it is decline of racism B-boy & flygirls toraggamuffins & bhangra style to acid Jazz. These have played a crucial part in influencing the gigh fashion and avant-grade fashion designers' work. Today's street fashion has characteristics of postmodern culture without a racism in global village. Moreover, pop music stars take an effect on the street style continuously. With the opening of a new century, the study of the street style will overcast popular fashion and suggest the direction of fashion design.

• Journal of Fashion Business
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• v.18 no.3
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• pp.148-166
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• 2014

The purpose of this study is to establish the basic materials necessary for red carpet fashion design by examining the formativeness and fashion images of red carpet dresses at film festivals in the Great China Region. For the purpose of this study, research methods include a literature review on the origin and significance of red carpet dresses, the characteristics of film festivals in the Great China Region and their red carpet dresses as well as an analysis of the formative features and images of 615 red carpet dresses collected from each film festival official homepage, diverse media articles, and online search sites (www.google.com, www.hao123.com). The research finding can be summarized as follows: First, the formative features of red carpet dress designs were analyzed herein. It was found that the most frequently appearing type of silhouette was straight followed by hourglass and bulk in order. More specifically these included fit and flare, mermaid, trapeze, and slim in order. For the neckline styles, strapless was the most frequently seen followed by camisole, jewel, and one shoulder. Solid colors were more often seen than multiple colors. Bk, W, R, and YR were the most frequent main solid colors in order. Solid materials were frequent as well, such as soft and shiny materials. Non-patterned and unadorned styles were most frequent as for pattern types and details and trimmings. Second, the fashion images of red carpet dresses in the Great China Region were analyzed. The most frequent images were elegant, feminine, ethnic, modern, classic, avant-garde, others, mannish and sportive, in order.

• International Area Studies Review
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• v.13 no.2
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• pp.789-812
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• 2009

This paper aims to analyse the historical-cultural sources of Azerbaijani national identity through the aspects of the Persian, the Turkish and the Russian influences, and to illuminate its complex characteristics. Then it will be examined the impact and consequences that the Azerbaijani identity exerted on its foreign policy. In the modern world, identities are formed and represented within a variety of shifting social, political, economic, cultural, and discursive contexts. Such understandings can have exclusionary consequences, particularly in pluralistic environments. Since its independence, the PFA government resorted to the arguments of ethnic origin and Azerbaijan's Turkishness to achieve its goals. Domestically, the failure of the ethnicity-based foreign policy was so great that even Azerbaijani Kurds, who under the Soviets had been virtually absorbed into the Azeri population, felt alienated and betrayed. Internationally, Azerbaijan turned Russia and Iran against itself and reduced bargaining power of Turkey since the latter grew increasingly concerned not to exacerbate its relations with Russia.

• Korean Journal of Heritage: History & Science
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• v.49 no.4
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• pp.218-227
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• 2016

Protected Flora are natural heritage that involve a wide variety of valuable natural values and cultural values. Over time, "Cultural Properties Preservation Law" has been changing the definition and the criteria of Protected Flora. In addition to the academic value and the rarity of the plant, historical, ethnic and landscape values have become increasingly important. For that reason the declaration and management processes of the Protected Flora need to be improved. However, the current statute has focused on the morphological characteristics of the plants which have a limit to encompass various values of the plant. It also does not correspond to the definition of Protected Flora and its declaration criteria stated on the "Cultural Properties Preservation Law." For this reason, the main purpose of this study is to develop new types of Protected Flora so that various Protected Flora can be discovered in the future.

• (The) Research of the performance art and culture
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• no.25
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• pp.291-332
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• 2012

Cham is the Buddhist ritual dance performed at the religious festival of Lamaism. It has been spread and performed at the Lamaist monastery of Tibet, India, Nepal, Bhutan and Monglia. The type and style of Cham are differntiated by the region and sect. However, they share the common aim of exorcising all evils symbolized by linga who resists the Buddhist dharma, and thereby celebrating the victory of Buddhism. This paper deals with the ritualistic concept and structure of Cham with a focus on Hemis Chetsu of Ladakh located at the extreme north of India. The festival is held to honor the birthday of $Padm{\bar{a}}sambhava$ who is the founder of Tibetan Buddhism in the 8th century. As a result, this paper drew the characteristics of Cham performance such as dance as the incarnation of sacred beings, ritualistic offering, visualization meditation as well as the ritual space as a mandala, the ritualistic intent of stylized acting, accumulative performance structure, the $Mahay{\bar{a}}nic$ motif of performance.

• The Journal of the Convergence on Culture Technology
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• v.7 no.1
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• pp.234-239
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• 2021

The purpose of this paper is to find out the nature of language variation by exploring the ways of the progress of the language variation that produces all English-lects, i.e., the World Englishes. The study of language variation in linguistics is a hybrid enterprise, so the study of World Englishes has led to the recognition of a highly diverse set of all English-lects, encompassing regional dialects, sociolects, ethnolects and (post-)colonial dialects of World Englishes. In this paper, we propose a hybrid language variation model with three interacting factors of social distancing, on/off-contact, and linguistic diversity to examine the characteristics of language variation. In the context of World Englishes, the social distance is typically low in terms of their local location (country/speech) for local purposes. The social distance also varies based on online/offline communication modes and other social factors like gender, age and ethnic groups, resulting in all English-lects. To clarify the nature of World Englishes, the core Englishes, BrE, AmE and CanE are discussed here.

• The Research Journal of the Costume Culture
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• v.28 no.6
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• pp.858-874
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• 2020

This study attempts to analyze the social and cultural meanings of the ethnic groups to which different types of shamans belong in Siberia from the appearance characteristics in terms of clothing through Roland Barthes's semiotic theory. The research method here is to analyze three types of shaman costume classified by Holmberg, which are bird-type, deer-type, and bear-type, through theoretical research and to investigate the analysis process of Roland Barthes's semiotics theory. Roland Barthes's approach to semiotics presents an analysis model that can explore the sociocultural meaning of the Siberian shaman costume. The research results are as follows. In the first type, to be closer to the god of the upperworld, shamans transform themselves into birds by decorating their costumes with the characteristic elements of birds such as feathers and wings. In the second type, the shamans' costumes are made of deerskin, and the headdress is shown in the shape of antlers to make it easier to receive messages from the upperworld and run fast in the underworld. In the third type, the shaman's costume is made of bearskin, the head is covered with bearskin, and the body is decorated with bear pendants. Through the power of the bear, the shaman is sent to the underworld to defeat evil gods and remove diseases. Shamans can show their particularity of being a demigod and non-binary gender through clothing. They use this to reflect their authority as a medium of communication between man and god.

• Fashion & Textile Research Journal
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• v.23 no.6
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• pp.758-769
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• 2021

The purpose of this study is to analyze the traditional embroidery in India by region based on Bourdieu's cultural theory. As the research methods for this study, literature and case studies were conducted. The results of the study are summarized as follows. First, India's regions could be divided into four distinct regions based on language and religion. The main concepts of Bourdieu's cultural theory, namely the sub-dimensions of field and habitus, were the field of social system, the field of goods & economy, the field of environment/region, culture, and ethnicity. Second, Eastern India's embroidery was influenced by Hinduism and traditional art. The embroidery used various fabrics such as the Applique work, and vivid colors and patterns were mainly used in the Hindu myths, animals, and flower patterns of the embroidery. Third, embroidery in Western India was influenced by exotic cultures like Persian due to geographical conditions, and embroidery via the use of gold threads and various ornaments was developed. Symbolized flower patterns and geometric patterns were used a lot in the respective embroidery. Fourth, embroidery in southern India was influenced by the Dravidian culture and their architectural style, which saw the emergence of an embroidery that used simple colored cross-stitch. Most of the patterns in this embroidery are geometricized. Fifth, Northern Indian embroidery has historically served as the center of power, resulting in an embroidery that uses various forms and materials. In this embroidery, flower patterns are mainly used. Finally, the characteristics of the traditional embroidery of India's each region is based on Bourdieu's cultural theory, which could be summarized as ethnic religiosity, exotic splendor, structural formality, and symbolic power.

• Journal of Preventive Medicine and Public Health
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• v.55 no.4
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• pp.313-320
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• 2022

The KoreaN Cohort Study for Outcomes in Patients With Chronic Kidney Disease (KNOW-CKD) was launched in 2011 with the support of the Korea Disease Control and Prevention Agency. The study was designed with the aim of exploring the various clinical features and characteristics of chronic kidney disease (CKD) in Koreans, and elucidating the risk factors for CKD progression and adverse outcomes of CKD. For the cohort study, nephrologists at 9 tertiary university-affiliated hospitals participated in patient recruitment and follow-up. Biostatisticians and epidemiologists also participated in the basic design and structuring of the study. From 2011 until 2016, the KNOW-CKD Phase I recruited 2238 adult patients with CKD from stages G1 to G5, who were not receiving renal replacement therapy. The KNOW-CKD Phase II recruitment was started in 2019, with an enrollment target of 1500 subjects, focused on diabetic nephropathy and hypertensive kidney diseases in patients with reduced kidney function who are presumed to be at a higher risk of adverse outcomes. As of 2021, the KNOW-CKD investigators have published articles in the fields of socioeconomics, quality of life, nutrition, physical activity, renal progression, cardiovascular disease and outcomes, anemia, mineral bone disease, serum and urine biomarkers, and international and inter-ethnic comparisons. The KNOW-CKD researchers will elaborate a prediction model for various outcomes of CKD such as the development of end-stage kidney disease, major adverse cardiovascular events, and death.

• Journal of Communication Design
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• v.66
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• pp.190-200
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• 2019

Through the golden age of the 1950s and 80s, Chinese animation formed a national style that inherited the traditional culture of China and adhered to various production methods, innovative styles and ethnic spirit. Today, however, Chinese animation is facing various challenges as it competes with animations from around the world. In this situation, Chinese animation is at a time when it is necessary to consider how to establish the identity of Chinese culture and how to combine China's unique ethnicity with modern personality. This study aims to analyze the symbolism and aesthetic characteristics of Chinese traditional color tubes in Chinese animated works, to analyze how symbolism and aesthetic features were used, Through this study, we will examine whether traditional Chinese colors can act as creative factors in presenting the future direction and value of modern Chinese animation today.