• Journal of the Korean Society of Clothing and Textiles
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• v.4 no.1_2
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• pp.11-18
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• 1980

This study attempts to discern the purchasing pattern of urban husbands' clothing in Korea. Studies on this subject in other cultures show that wives play lesser role in purchasing activities of their husbands' clothing in the industrial societies rather than in the pre-industrial ones. It would be interesting to know the way selecting and buying husbands' clothing in urban Korea. Specifically questions to be answered include: Who makes the decision in selecting in kinds of husbands' clothing and who buy them? Data for this study has been collected through structured questionaire survey for 606 married women in the City of Seoul including 192 mothers of elementary school students, 58 elementary school teachers, 210 mothers of middle and high school students, 56 mothers of undergraduate students, and 47 college professors. Since most women of our sample are relatively high in educational level and working for various educational institutions, the findings of this study should not be generalized as a general trend of urban Korea. Major findings of this study include: 1) Purchasing husbands' clothing is not entirely wives' domain. The degree of participation on the part of wives in selecting and buying of their husbands' clothing depends upon the kinds of clothings. If it is for such items as underwear, socks, handkerchief, or umbrella, which are relatively easy to choose in terms of size, outlook, and price, more wives do the job. Other- wise, however, husbands more actively participate in selecting and buying their own clothings such as shoes, overcoats, neck tie, and formal wear. 2) In terms of clothing behavior of husbands, it seems to be a general trend that husbands select their clothings, but wives buy them. 3) Variables related to socio-economic status seem to affect the clothing behavior of husbands. Those who more actively participate in selecting and buying their clothings include: husbands whose wives have a job outside thier family, younger in age, middle school or high school graduates rather than college graduate or husbands with far lesser education, and husbands who live in western style houses rether than in traditional Korean houses.

• Journal of Science of Art and Design
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• v.4
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• pp.123-146
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• 2002

[ $\lceil$ ]The Life of Pigeons$\rfloor$ consists of seven different canvases without a leading image It contains fragments of disassociated ordinary subjects from a capitalistic and consuming society. In this respect, the text itself attains multiple meanings throughout with inner disharmony, disassociation and relationships of differences. The divided seven images look as if they are connected as one and are connected events that are happening at the same time and in similar places. A liberal interpretation of this work is given to viewers when the seven canvases have both relations and gaps at the same time. $\lceil$The Life of Pigeons$\rfloor$ attempts the viewer's disruption through its middle stratum of meaning structure, which is a device for viewers to rearrange and deeply analyze the seven images. As a result, the artist allows the viewers to get lost in self-contradiction. A fundamental formal structure adopting post-modernism and abandoning modernism is what we can detect with detailed analysis of the work. For instance, changing surface style appears by dividing or putting images in obliquely, furthermore it clearly shows that the main subject is divided in form such as the subject's division into seven spaces. There are three major characteristics. First, the form of the images is divided and composed through oblique and overlapped images. Second, the main content of the subject tends to be scattered. Third, the subjects are interpreted in multiple meanings due to their allegory and symbolism. The inquiry of $\lceil$The Life of Pigeons$\rfloor$ proves that it takes a post artistic spirituality as its basis and its subjects are divided by the differences and surrounding relationships.

• The Journal of Art Theory & Practice
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• no.3
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• pp.173-192
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• 2005

Yoo Youngkuk started his career as an artist when he entered Bunkagakuin of Tokyo in 1935 he actively participated in the Japanese art scene as a young Korean artist until 1943. In his earliest works, Rhapsody and Work B, Surrealist and abstract influences are manifested as these were prevalent in Japan at the time. With the exception of Rhapsody and Work B, all works available that were executed between 1937 and 1940 are abstract, which points to the fact that Yoo intended abstraction from the beginning. Surviving works in relief suggest his early style was founded on the abstractions similar to Russian Avant-Garde, Neo-plasticism and Bauhaus simplicity. His early abstractions were not the ideational images derived in the process of the abstraction of the representational image, but they arose from the constructive attitude in composing the already stylized non-representational geometries. It is worth noting that his early emphasis was on the pure and absolute geometric abstraction, rather than the images motivated from the figurative representation. Yoo differentiates himself from Kim Whan Ki in the following aspects: one, he eliminated the subject matter i.e. human figures and the nature; two, he maintained the constructivist attitude in creating a strict and absolute abstraction; three, he experimented with different styles without combining them. He manifests direct influences from the prevalent Western art influences, such as Futurism and Russian Avant-Garde, unlike Kim who vaguely references. In both paintings and reliefs, Yoo's attempt in the realization of the pictorial depth and space seems cerebral and conceptualized compared with the other artists of the time who resolved abstraction via the constructive dimension. Uemura, a contemporary critic to the geometric abstractions in Japan, disapproves the stylistic bent in the adaptation of the abstract painting without the comprehension of its spiritual movement. As witnessed in other criticisms as well, contemporary Japanese critics' interest lie mainly in the superficial observation such as the presence of representational elements, composition and use of color. Such formal and superficial understanding of the geometric abstraction resulted in

• The Korean Journal of Archival Studies
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• no.2
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• pp.195-230
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• 2000

In this paper I tried to get an overall view of the training course of German archivists, based on the curriculum of Marburger Archivschule. In Germany the short-term training courses are offered by some archives and also graduate-level course is offered by a college in Potzdam. Marburger Schule is, however, said to be a representative institute for training of archivists in Germany because the institute has a long history and its graduates have been playing a leading role in the archival science and archival administration of Germany. By examining the curriculum of the Marburger Schule, I tried to analyze the important elements which have decided the shaping of curriculum historically. I also examined the general prerequisite to be an archivist in Germany, including qualification-examination in order to see how the high standards of German archivists can be maintained. There are three kinds of training courses in Marburger Schule: course for academic archivists, course for administrative archivists, short-term course for complementary training. The former two main courses are runned in association with each state archives(staatliche Archive, Landesarchive) in the Federal Republic of Germany along the line of public regulation. These courses consist of theoretical and practical education. Marburger Schule is charged with the theoretical education, while each local government(Landesregiergung) runs the training system according to its own rules with autonomy. The education of archivists must be structured to fill the expected role in a society to which archivists belong. The image of archivist changes in the course of times and makes a greate many differences according to the conditions and tradition of a country. The whole system of formal education is also related with the style of managing of Archives in each country. Therefore an example of a country can not be taken so easily as a model. The education system of archivists must be interpreted in the relation with the historical condition of a country and its administrative system of archives.

• The Journal of Society for e-Business Studies
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• v.27 no.2
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• pp.175-192
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• 2022

Artificial intelligence-based natural language processing technology is playing an important role in helping users write English-language documents. For academic documents in particular, the English proofreading services should reflect the academic characteristics using formal style and technical terms. But the services usually does not because they are based on general English sentences. In addition, since existing studies are mainly for improving the grammatical completeness, there is a limit of fluency improvement. This study proposes an automatic academic English editing methodology to deliver the clear meaning of sentences based on the use of technical terms. The proposed methodology consists of two phases: misspell correction and fluency improvement. In the first phase, appropriate corrective words are provided according to the input typo and contexts. In the second phase, the fluency of the sentence is improved based on the automatic post-editing model of the bidirectional recurrent neural network that can learn from the pair of the original sentence and the edited sentence. Experiments were performed with actual English editing data, and the superiority of the proposed methodology was verified.

• (The) Research of the performance art and culture
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• no.39
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• pp.457-507
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• 2019

The purpose of this study is to explore the formal and content features of the material for the Changgeuk album , which was produced and released in 1971. Changgeuk album was produced and published as a headword for "Changgeuk". However, it differs from the style of Changgeuk which is treated as a stage drama in that the narrative is developed around the commentary and dialogue in the formal aspect and the Pansori is only partially used. The styles of Changgeuk, implemented through gramophone record, radio broadcasts and television broadcasts, varied widely, unlike those of Changgeuk established in the 1930s. Pansori music wasn't the only center, and traditional performers weren't even the main members of the play. The characteristic form of the Changgeuk album is an experiment of Changgeuk that emerged naturally with radio reading and the advent of radio dramas in the 1950s and 1960s. So it is necessary to pay attention to the Changgeuk album in that it shows diverse forms of experiments conducted by Changgeuk in the newly introduced culture and media in the middle and late 20th century As for the contents of the Changgeuk album , the work embraces Lee Jong ik 's novel (1957), but develops the narrative centering on the life of Saint Sa-myung(四溟大師). And it is faithfully portraying the life of a Buddhist monk and the national salvation hero who pursued the original work. This content composition can be understood in the will of singer Lee Yong bae, the soundman who produced the album, and in the flow of historical dramas that summon the historical hero of the old country of the time to the stage. Singer Lee Yong bae reflects on his life in the past when he was full of greed and conceit through his life as a monk of Saint Sa-myung(四溟大師) and is greatly impressed by the personal aspect of Saint Sa-myung(四溟大師), and these emotions encouraged his creative will. Also, the Changgeuk record is meaningful in that it is one of the specific materials that embodies the national hero as a record and a traditional play under the discourse of the people, the nation in the 1970s.

• Cartoon and Animation Studies
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• s.39
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• pp.451-472
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• 2015

Lian Huan Hua(連環畵) has occurred in the history of China Cartoon was initially developed as a unique literary style of Chinese painting and narrative combined. Also Lian Huan Hua are also tend to form once the fusion 1920s was also a very creative fashion cartoon style. This is also referred to as chain cartoon. In 1950-1960, China 's Lian Huan Hua also mature a 'golden age' legal group reaches to indicate the unique formal features developed independently. This work is a dramatic expression of Lian Huan Hua narrative, shows a more realistic representation techniques and art forms such as portraiture is a very big breakthrough was achieved artistic maturity of the work increased significantly. by He You Zhi(賀友直) and by Hau San Chuan(華三川) is a masterpiece of artistry and maturity in the period leading side. Chapter 2 looked at the origin and development of Chinese Lian Huan Hua, it was seen by the fact that China achieved new progress in Lian Huan Hua upset every time the combination of content and form, In addition, the work of 1950-1960 in the development process of China's Lian Huan Hua confirmed the fact that they won the biggest achievement in artistry and maturity surface. Therefore, Chapter 3 how 'golden age' masterpiece of and the dramatic narrative of expression by analyzing a specific angle in the multifaceted image of the , realistic portraiture, such as the acquisition of Chinese concrete artistry Lian Huan Hua I want to show. Analysis of the figures depicting nature, landscape screens. consisted of highlights and background and techniques of utilization, production methods. The purpose of this research work is to identify two conditions of great Lian Huan Hua through analysis of concrete work and painting techniques such as framing and directing the Lian Huan Hua's artistic achievements is to investigate the influence of China in the early comics. These two works are focused on a realistic view of life and put out was to create a more effective representation of information it attempts to pass a new production techniques and will have the significance. Also completed was a new style absorbed throughout the aesthetic advantages are compelling own personality writers of Eastern and Western paintings are remarkable in that its performance. But the difference in the two works represent all types and painting techniques has a the mood of common China's lives.

• FLOWER RESEARCH JOURNAL
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• v.18 no.2
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• pp.125-135
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• 2010

To discover the main characteristics of Korean traditional flower arrangement, they were compared with different articles and old paintings used in royal court ceremonies. The primary research involved principle of design. The times periods used were the Joseon Dynasty era of Korea, the Ming era of China, and the Edo eras of Japan. The result, which shows both the similarities and differences, of the research is summarized as follows. The similarities were that they all respect the features of nature, and their image expresses their creator's thinking. There was one technique, called 'Suje', in which a part of the stem is coming out from one branch. Also, each three eras preferred flowering trees and ornamental trees more than annuals or foliage plants. one of the differences was that korea used a simple number of materials. The work had volume and appeared mild by using a soft curved line which was repetitive and massive. The Joseon Dynasty era advanced a sense of beauty with artistic symmetry and balance. The work seemed soft and natural because of the little change in blank space, with almost no angle of line. The form had a characteristic preference of being taller than the typical Japanese arrangement. It appeared simple, calm, and rustic by using only one kind of material. In contrast, the Chinese style was gorgeous and displayed volume in a non-symmetrical tripodal form, which incorporated various colors and materials. Also, they avoided processing the materials in order to emphasize the original beauty of nature. Chinese flower arts did not become formalized because they did not consider the formality seriously the formal. The Japanese style was also gorgeous because it incorporated various materials and angles. It included an extreme technique in which an artificial line divided the blank space delicately. The line was both strong and delicate in an established form. The restriction of the main branch gave a light feeling, as well as more strain as in a balance sense. The Japanese eras emphasized more the use of line and a sense of blank space.

• (The) Research of the performance art and culture
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• no.35
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• pp.61-92
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• 2017

During the Japanese colonial era, traditional music performances were gradually diminishing and weakening in the particular condition of colonization. Meanwhile, from the time of enlightenment, Western genre performances were becoming vitalized with the influence of Western civilization that began to be spread steadily throughout the society. In that situation, traditional music performances tended to be mixed performances accompanied by Western ones, not independent performances. Mostly, they were accompanied by Western music, and also, they were performed along with other genres like plays, lectures, movies, dances, or magic, too. Such form of mixed performances accompanied by Western genres became even more vitalized in the 1920's and came to be positioned as a form of traditional music performances. Therefore, research on the forms of mixed performances between Western genres and traditional music is meaningful in examining the forms of traditional music performances that have not been studied in the history of Korean modern music and understanding the trends of traditional music performances which were generally found in the Japanese colonial era. However, such research has hardly been conducted concretely yet. Accordingly, concerning the forms of mixed performances between Western genres and traditional music in the 1920's, this author considered the background of vitalizing mixed performances between Western genres and traditional music mainly with newspaper articles of the time and their formal characteristics. Regarding the background of vitalizing the forms of mixed performances between Western genres and traditional music, from the 1920's, the forms of mixed performances between Western genres and traditional music became more vitalized than before. The causes of that may include the increase of groups hosting or sponsoring such performances from the 1920's and also the dramatic increase of such performances in general. Moreover, the increased performances were conducted in the forms of mixed performances mainly in order to satisfy the people's needs becoming diversified with the distribution of Western civilization. Concerning the formal characteristics of mixed performances between Western genres and traditional music, this researcher classified western genres performed with traditional music and examined what characteristics were found in such mixed performances of tradition music by the types of Western genres respectively. First, in the mixed performances type of western-type genre and traditional music, the number of programs for the western music had significant portion in general, and there were certain ensemble of the western music and traditional musical instrument that was rare at this period of time, and it also had the characteristics of classifying two genres to perform for each title or date. Second, in the mixed performances type of the drama and traditional music, the traditional music is directly participated in the drama with the similar type to the theater, or performed independently from the drama with the role of interlude performance for the stage conversion of the drama to have the characteristics of performing in audience publicity or entertainment. Third, in the mixed performances type of the lecture and traditional music, the traditional music is played before or after the lecture to play the role to set the atmosphere and entertainment for the lecture as displaying the feature to perform for the audience attraction. And, fourth, in the mixed performances type of the movie and traditional music, the traditional music sometimes directly participated in the movie or had the features of independent performance, and there was a characteristic to perform for the entertainment after showing a movie.

• Journal of the Korean Home Economics Association
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• v.9 no.2
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• pp.17-29
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• 1971

Korean foods sold restrant and hotel accompaines so many kinds of side dishes. The menues never considered on the nutritional standpoint nor the volume that can be eaten by customers. The purpose of this study is to simplify and improve the menu of Korean foods sold in restrant. To find out the problem and the method of the betterment Korean food sold in restrant. The survey study was made for 100 restrants in Seoul city. Ther average number of side dish of the restrant food was 23. The average amount number of the side dish was 31 and smallest number was 4. The average amount of food served was 979 grams and the average number of food taken by people was 698 grams. The average percentage of intake of food was 62%. Protein Content of the foods sold restrant was from 54% to 240% over the recommended dietary allowances. Protein intake also exceeded from 19% to 147% of recommended dietary allowances. Age of the customers were surveyed to set up the standard amount of the nutrients. About 68% of the customers were from 30 to 40 years of age in the day time (lunch), whereas about 72% were from 20 to 30 years of age in the evening (supper). From the results of the survey study, two nutritional standard were decided to be used. One is the recommended dietary allowences of 25 years of man (reference man), and the other is that of 45 years of man. The actual standards are as follows : Standard 1 (25 years of man) Calories-900~1000Cal Protein-25-30g Vegetables-200~250g (include yellow, green vegetable), Amount of food-about 800g Standard 2 (45 years of man) Calories-700~800Cal Protein-25~30g Vegetables-150~200g (include yellow, green vegetable) Amount of food-700g The kinds of food recommended to be sold in the restrant are as follows : 1. Pansang-is a formal method of korean table setting 3 types, 7 chup, 5 chup, and 3 chup were studied and made, 2. Table for the quest with drink-2 types of table setting, 9 kinds of food and 7 kinds of foods were studied. 3. free meal-in this table, one pig protein dish with kimchi, one vegetable, and one salty flsh will be served, 19 kinds of foods were studies. 4. One dish meal-in one large dish, rice will be served with side dishes soup and kimch will be accompanied, 10 kinds of foods were studied. 5. Cafeteria style foods-one serving of food will be served in small dishes Customers should select the food want to eat.