• 한국의류학회지
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• 제30권4호
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• pp.623-632
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• 2006

This study discusses the traditional costume of Korea and Japan and cognitive factors affecting its recognition by conducting a survey on both Korean and Japanese students so that comparative analysis of the differences about whether to rent or own traditional costume and about whether the students surveyed have visited the other country reciprocally, can be made to set the future course of the traditional costume which have gradually been worn less frequently and favored by less people. College students of Japan and Korea were chosen for this study and asked to fill in a questionnaire. 491 respondents were analyzed using SPSS10.0 for frequency analysis, factors analysis and t-test. Findings of this study are as follows: Firstly, there were 7 factors affecting the Korean student's recognition of Hanbok while 6 factors involved in Japanese student's recognition of Kimono. Korean students thought highly of the traditional costume and yet had less knowledge of it compared to the Japanese students. Secondly, analysis of the student's recognition of their counterpart's traditional costume showed that there were equally 4 factors affecting the student's recognition. Students found the traditional costume difficult to wear and uncomfortable when worn. Japanese students regarded Hanbok as an abstract form of the traditional Korean culture while Korean students viewed Kimono as a realistic form of something concrete. Thirdly, analysis of the differences about the recognition based on the student's owning or renting the traditional costume. or visiting the counterpart's country, showed that students owning the traditional costume were more positive about the traditional costume and well versed in it. And students having visited their counterpart's country thought more favorably of the traditional costume of their counterpart.

• 복식
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• 제65권6호
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• pp.63-78
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• 2015

This study explored culture adaptive attitudes and traditional dress donning practices among Japanese women who immigrated to Korea after marrying Korean men. Quantitative research was conducted on Korean-Japanese multicultural families. Participants were 233 married women who emigrated from Japan to Korea currently living in Seoul and Gyeonggi Province. The data was analyzed using frequency analysis, t-test and correlation analysis. The findings were as follows: First, a positive relationship was found between Hanbok acceptance attitudes(HAA) and Kimono transmission attitudes(KTA). Both HAA and KTA had a positive relationship with ethnic identity. 43.3% of the respondents thought that they belonged both to Korean and Japanese ethnicity, 30.5% to Korean ethnicity, and 26.2% to Japanese ethnicity. Similar tendency (64.8% to bicultural identity, 31.3% to Korean, and 3.9% to Japanese) was found in the ethnic orientation towards their children. Both HAA and KTA had no difference in accordance with nationality, education and income level. Second, 70.4% of women had no experience of wearing Hanbok, and 90.1% had no experience of wearing Kimono. The women mostly wore Hanbok and Kimono for social events and family weddings.

• 한국의상디자인학회지
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• 제10권3호
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• pp.15-25
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• 2008

Today, each country's cultural communications are carried briskly and Japan already showed a new trend of world fashion by accepting its own design with aesthetic sense to western Europe in 1970s and built the new area of Japanese fashion. This special traditional aesthetic sense, formed by social, cultural, geographic and religious conditions, is roughly divided into decorated and undecorated beauty; decorated one means splendidness, coquetry, exaggeration and was represented ornamental modification of nature object in dress pattern as ornamental expression means; undecorated one, based on Zen-thought, means simplicity, purity, ugliness and Japan gave rise to the new beauty by receiving and adapting continental culture to its culture openly and creating and developing its own beauty. This study aims to examine the aesthetic sense shown in Japanese traditional dress and understand how traditional beauty is used and applied to modern fashion and analyze the diversity of Japanese traditional aesthetic sense shown in modern fashion. For material analysis, total 220 were collected of photograph related to formative element existence according to aesthetic sense shown in Japanese traditional fashion design using literature research and visual data. The existences of Japanese image among them were confirmed by clothing and fashion department majors so that 7 pieces of which were selected as final analysis object. Likewise, the result suggests that Japanese traditional aesthetic sense creates global design based on folk element-used identity as well as new beauty by adapting continental culture to its culture openly and producing and developing its own creative beauty.

• 대순사상과 동아시아종교
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• 제2권2호
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• pp.149-153
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• 2023

• 대순사상논총
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• 제17권
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• pp.49-71
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• 2004

Daesoon-thought is considered as the one that offers the new interpretation of the people who live in the modern society and advocates the new worldview based on the history of Korean thought. Basically, Dong-Hak, which was a root of Korean religions, was strongly against formalistic Confucianism that governed the whole society of Chosun dynasty, and showed its characteristics towards anti-neo confucianism. However, the people, who severely suffered from the gap between the ideal and real world with deploring their languishment, longed for the emergence of a new leader, since the sprit of Dong-Hak, which was pervaded up to Gab-o-keong-zang, was collapsed before the sword of Japanese forces. Jeungsan was well aware of people's thoughts, and provided with them hopes of life in a very active manner. So, his thought showed plebeianism and democratic nature in a certain sense with racialism that tried to recover the collapsed pride of Chosun. Particularly, Cheon-ji-gong-sa, one of his religious thoughts, is clearly distinguished from those advocated by other religious thinkers, and shows the positive will that overcomes the difficulties of the world in the religious way. This paper aims at shedding the light on how Daesoon-thought appeared with the background of late Chosun. For this, the trend appearing in religions and thoughts at the time of late Chosun when Daesoon-thought started, will be examined carefully. Also, based on such a background it will be further investigated how Daesoon-thought has been developed and systemized.

• Preventive Nutrition and Food Science
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• 제14권4호
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• pp.303-309
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• 2009

This study compares Korean and Japanese college women's self-evaluation on obesity and examines their attitude to weight control. The subjects of this study were 101 college women residing in Daegu-si of Korea and 123 Japanese college women living in Saga-ken of Japan. A survey was conducted by each of the participants and was analyzed. This self-evaluation on obesity revealed that 47.5% of Korean college women answered that they were obese while 31.7% of Japanese college women responded they were. The results of this study show that there are about 5% of college women in both Japan and Korea who thought they were obese, even though they were actually normal or underweight. Both Korean and Japanese women who considered themselves obese selected wrong eating habits as the cause of their obesity. In terms of their recognition on ashamedness, Japanese college women showed rather stronger recognition than Korean ones. In addition, more Korean college women responded that they had been suggested to lose weight than Japanese ones. In terms of the factors that motivate weight control, few women in either Korea or Japan controlled their weight for health reasons. Most of the Korean and Japanese college women chose the size of their clothes, their undesirable look reflected on the mirror, or having no boyfriend as the chief motivating factors for weight control. In terms of their attitude towards weight control, Japanese college women checked their weight more frequently than Korean ones. Moreover, both Korean and Japanese college women were directly motivated to lose weight while they were talking with their friends.

• 패션비즈니스
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• 제13권3호
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• pp.1-11
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• 2009

This study was intended to look into the actual status of using their own traditional clothes, by Korean and Japanese female college students, and to compare the differences of their perceptions about the traditional clothes of their own and the other countries, and thus to present the ways beneficial for Korean female college students to establish their positive recognition toward traditional clothes. For the study, the questionnaire method was used, by which a total of 375 sheets was collected; Frequency analysis and t-test were conducted with a SPSS 12.0 statistic program. The findings were as follows; Korean female college students, in comparison with their Japanese counterparts, owned less traditional clothes suitable and wearable for their body, and so they had a less number of wearing and renting experiences. In addition, they indicated a low level of realization about the suitability of traditional clothes to the wearers in their 10's, 20's and 30's. While they thought highly of their traditional clothes in the item of 'pride,' they had a low level of recognition in the item of 'knowledge,' and they considered the traditional clothes to be inconvenient. Korean college students revealed a lower level of favorable interest in the other country, but they had a higher level of evaluation for the items of 'design applicability' and 'popularity' than the Japanese college students did.

• 비교문화연구
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• 제45권
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• pp.7-32
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• 2016

이 논문은 재일코리언 김시종의 장편시집 "니이가타"의 표현을 고찰해 식민 이후와 분단의 시대를 살아가는 '재일'의 의미를 생각해본 것이다. "니이가타"는 1959년에 니이가타 항에서 재일코리언이 북한으로 귀국하는 모습을 바라보며, 제주 4.3사건 이후 정부 당국에 쫓겨 1949년에 일본으로 건너와 현재에 이르기까지 재일의 삶을 살고 있는 김시종의 '재일'에 대한 적극적인 의미 표명을 상징적인 표현을 통해 잘 보여주고 있는 시집이다. 김시종은 스스로를 재일 2세로 정위하고 일본사회 속에서 현실적이고 주체적으로 살아가는 길을 모색해왔다. 그는 남북 분단의 현장이며 38도 선의 연장선상에 있는 니이가타에서 조국에서는 넘을 수 없었던 분단을 넘는 상상을 한다. 이는 재일의 삶을 살고 있기에 가능한 공간 확장의 상상이라고 할 수 있다. "니이가타"는 '재일'이 한국과 일본 사이에 끼어 정체성의 불안을 느끼는 네거티브한 존재가 더 이상 아니라, 한국과 북한, 그리고 일본을 모두 포괄하며 이들을 새로운 의미로 관련지을 수 있는 존재임을 보여주고 있다. 식민과 분단의 어두운 기억 속에서 살던 자아를 깨워 새로운 공간의 상상력을 펼침으로써 남북을 총칭하는 '조선'과 일본을 아우르는 지점에서 재일을 사는 의미를 찾고자 한 시인의 적극적 의지 표명을 읽어낼 수 있다.

• 수산경영론집
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• 제33권2호
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• pp.153-168
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• 2002

Korea's marine products trade is taking for phase that income exceeds export after 2000. According to external environment change of Korea and Japan fishery agreement and an import liberalization of marine products, import of live fish and fresh fish is increasing rapidly. This study investigates import view of Japan live fish and fresh fish. Live fish which is imported from Japan has red seabream and seabass, but it is in declining tendency because of the increase in import of cheaper croaker from the China. If see importer's trend, entry to import business of fresh fish is eased a little. If a circulation trend is seen, However, it is thought that a future import trend is influenced by economic trends of Japan and the grade of place-of-production development of a domestic trader. Circulation market outside is common and the district wholesale store has played the important role. The import view of Japanese live fish and a fresh fish will increase against the background of maintenance of domestic circulation organization, and upgrading of marine product consumption However, it is thought that a future import trend is influenced by economic trends of Japan and the grade of place-of-production development of a domestic trader.

• 미술이론과 현장
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• 제4호
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• pp.123-144
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• 2006

Foreigners who arrived in Korea after the age of enlightenment were Japanese, Chinese and 'Westerners' who were Europeans and Americans. The westerners were diplomats who visited Korea for colonization or for increasing their economical profits by trading after the spread of imperialism, and tourists curious of back countries, artists, explores and missionaries to perform their roles for their religious beliefs. They contacted with Korean cultural and educational people as missionaries and instructors during Japanese colonial period. In 1945, the allied forces occupied Korea under the name of takeover of Japanese colony after Japan's surrender and the relation between foreigners and Korean cultured men enter upon a new phase. For 3 years, American soldiers enforced lots of systems in Korea and many pro-American people were educated. This relationship lasted even after the establishment of the government of Korean Republic and especially, diplomats called as pro-Korean group came again after Korean War. Among them, there were lots of foreigners interested in cultures and arts. In particular, government officials under American Forces who were influential on political circles or diplomats widened their insights toward Korean cultural assets and collected them a lot. Those who were in Korea from the period of independence to 1950s wrote their impressions about Korean cultural assets on newspapers or journals after visiting contemporary Korean exhibitions. Among them, A. J. McTaggart, Richard Hertz and the Hendersons were dominant. They thought the artists had great interests in compromising and uniting the Orient and the West based on their knowledge of Korean cultural assets and they advised. However, it was different from Korean artist's point of view that the foreigners thought Korean art adhered oriental features and contained western contents. From foreigners' point of view, it is hard to understand the attitude Korean artists chose to keep their self-respect through experiencing the Korean war. It is difficult to distinguish their thought about Korean art based on their exotic taste from the Korean artists' local and peninsular features under Japanese imperialism. We can see their thought about Korean art and their viewpoint toward the third world, after staying in Korea for a short period and being a member of the first world. The basic thing was that they could see the potentialities through the worldwide, beautiful Korean cultural assets and they thought it was important to start with traditions. It is an evidence showing Korean artists' pride in regard to the art culture through experiencing the infringement of their country. By writing about illuminating Korean art from the third party's view, foreigners represented their thoughts through it that their economical, military superiority goes with their cultural superiority. The Korean artist's thought of emphasizing Korean history and traditions, reexamining and using it as an original creation may have been inspired by westerners' writings. 'The establishment of national art' that Korean artists gave emphasis then, didn't only affect one of the reactions toward external impact, 'the adhesion of tradition'. In the process of introducing Korean contemporary art and national treasure in America, different view caused by role differences-foreigner as selector and Korean as assistant-showed the fact evidently that the standard of beauty differed between them. By emphasizing that the basis to classify Korean cultural assets is different from the neighborhood China and Japan, they tried to reflect their understanding that the feature of Korean art is on speciality other than universality. And this make us understand that even when Korean artists profess modernism, they stress that the roots are on Korean and oriental tradition. It was obviously a different thought from foreigners' view on Korean art that Korean artists' conception of modernism and traditional roots are inherent in Korean history. In 1950s, after the independence, Korea had different ideas from foreigners that abstract was to be learned from the west. Korea was enduring tough times with their artists' self-respect which made them think that they can learn the method, but the spirit of abstract is in the orient.