• 복식
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• 제56권2호
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• pp.17-31
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• 2006

This study is tried to identify the changes in modern Hanbok for the past five decades through the literatures and actual materials such as the First Ladies' costume. In Hanbok fashion, there is a trend that influenced by politics, economy and culture just like in western fashion. After liberation from the Japanese colonialism, the most important factors in Hanbok fashion were economic factors caused by the development of textile industry and the dressing attitude of the First Ladies at that time. In 1950s, a modified Hanbok that is easy to wear was popular. It was partly because of the west oriented atmosphere after the Korean War and mainly due to the practical dressing attitude of First Lady, Francesca. In 1960s and 70s, former First Lady Yuk Young Soo who loved and had good taste for Hanbok led the fashion. At that time, high ranking female social leaders as well as general public usually wore Hanbok on formal occasions. Therefore, textile industry for Hanbok developed a lot and tailored shops that specialize Hanbok emerged. In 1980s, as the economy got better, Hanbok was upgraded and it became more luxurious. Traditional Hanbok was revived through a historical investigation. Additionally, the former First Lady Lee Soon Ja helped fostering a luxurious mood as she wore a Hanbok as a formal dress. After 1988 Olympic Games were successfully held, the importance of the traditional culture was emphasized in 1990s and Hanbok followed retro trend rigorously through the academic approaches including a dressing history. Hand painted and naturally dyed Hanboks were strong in this period. Former First Lady Kim Ok Sook's sophisticated Hanbok attire partially had effect on this mood. However, From the late 1990s Hanbok became less popular. It was partly because the former First Lady Son Myoung Sun and Lee Hee Ho preferred western style dresses and did not play a role as Hanbok fashion leaders.

• 한국콘텐츠학회논문지
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• 제13권6호
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• pp.86-94
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• 2013

2000년대 한국영화는 자본의 영향으로 인해 민감한 문제를 정면에서 이야기 하는 대신 알레고리로 우회하는 것이 하나의 특징으로 나타났다. 복수3부작을 연출한 박찬욱은 이를 대표하는 감독이다. 박찬욱의 복수3부작 중 <친절한 금자씨>는 바로크 미학이 두드러진 작품으로, 이 논문에서는 발터 벤야민의 알레고리 개념을 중심으로 분석했다. 벤야민에 의하면 알레고리는 총체성으로 대표되는 상징과 달리 파편화된 것들을 직관에 의해 재구성하는 것으로 가상의 논리적 일관성을 위해 억압된 것들을 드러내는 작업이다. 이러한 모습이 잘 드러난 것이 바로크 시대 독일 비애극이다. 독일 비애극의 모습을 차용한 <친절한 금자씨>에서 박찬욱은 해방과 건국의 신화를 해체하여 오랫동안 역사서술에서 배제되어 왔던 사회주의자들과 무정부주의자들을 역사의 전면에 복원했다.

• 한국지역지리학회지
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• 제13권5호
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• pp.477-494
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• 2007

본 논문은 부산시를 대상으로 1900년대 초(구한말)부터 현재에 이르기까지 거주지역의 불평등한 현상을 거주분화의 개념을 중심으로 사회공간적으로 분석한다. 부산은 1900년대 초 조선 전통사회의 성격을 이어받아 신분사회의 계층질서에 의한 거주선택의 제한으로 불평등한 거주공간이 형성되었다. 이후 일제에 의한 신시가지의 형성으로 기존의 한국인 거주지와 분리되는 현상을 경험하였으며 일본인과 한국인, 그리고 중국인 거주지역으로 구분되는 민족별 분화 현상도 나타났다. 해방과 한국전쟁 이후 급속하게 인구가 증가함으로써 새로운 빈민거주지역이 등장하였고 이는 이후에 전개될 거주지 분화의 주요 요인으로 작용하게 된다. 빈민지역의 문제를 해소하기 위해 1960년대부터 실시한 정책이주는 제도상의 결점으로 인하여 큰 효과를 보지 못하였다. 1990년 이후 주민의 사회경제적 지위는 주택선택에 영향을 주어 주택계층에 의한 거주지역분화를 가능하게 하였다. 중간주택계층보다는 상 하위 주택계층이 거주공간의 불평등한 분포에 큰 영향을 주었다. 맥락적이고 시계열적인 접근방법을 시도하여 거주공간의 사회공간적 불평등에 관한 인과성을 파악하려고 시도한 본 연구는 미래에 전개될 거주공간패턴을 예측하고 다른 도시들의 거주공간연구에 도움을 줄 것으로 예상된다.

• 복식
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• 제44권
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• pp.37-56
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• 1999

In clothing, a tendency of Bisexuality is in case of wearing clothing of the opposite sex, the mixing of modeling principle and characteristic of man and woman, the exclusion characteristic of sexuality that present sexlessness-the third sex. They-Designer Gabrielle Chanel, YSL, Giorgio Armani-give characteristic of man's fashion to women's fashion. However, the consciousness in design is different. Chanel apply principle of man's suit to woman's wear to express authority and power about gender image, hereby she express women liberation and equality of man and woman based on social ideology through fashion especially, she express women's sexual independency and self assurance to her clothing. YSL express liberal and bold women that pursuit reasonal and liberal life in 1970. As he apply tailoed suit's rigidity to women's wear, he made 'pants look' universal in women's wear through“Dress for success”in modern life. Armani apply successful modern image to women's wear, so he express women's image of confident intellegent as well as feminine image. He focus women's new image as man living liberal and indivisual life excluding social category rather than will of equality of man and women. Gernreich break sexual prejudice and release women freely, furthermore, as he express concern of sexuality pursuit liberty of mankind surpassing sex distinction with women liberty. Gianni Versace pursuit mix and extinguishment of sexual image many-sided, and break fixed idea of sex, and reprovide feminine and masculine image. So his design tend homosexuality because he regard women's glamor and ostensible sexuality as standard of beauty, he apply this to man's wear as well as women's wear. With this, he expresses sensitive and liberal man's that break characteristic of Gender that symbolize power and authority in man's wear through 'Without ties'.

• 한국세라믹학회지
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• 제25권3호
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• pp.217-224
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• 1988

Alkoxide 법으로 합성한 알루미나의 동공 구조를 BET 법으로 구한 흡 탈착 등온선의 hysteresis loop와 동공 분포로부터 고찰하였다. 알루미나는 aluminum isopropoxide를 화학량의 물로 가수분해하여 제조하였고, 가수분해 온도는 3$^{\circ}C$와 8$0^{\circ}C$에서 수행하였다. 이어 20$0^{\circ}C$부터 50$0^{\circ}C$까지 단계적으로 승온시키며 일정시간 열처리하였다. 3$^{\circ}C$ 가수분해 시료의 동공부피는 열처리 온도에 비례하여 증가하였으며, 동공크기는 쌍입분포(twin peaked pore size distribution)형으로 나타났다. 그러나 8$0^{\circ}C$ 가수분해 시료는 열처리에 의하여 동공부피가 감소하고, 동공크기는 단입분포(single peaked pore size distribution)로 나타났다. 이러한 관찰 결과로부터 전자의 동공형태는 slit형, 후자는 ink-bottle형을 하고 있는 것으로 추정되었다. 이와 같이 가수분해 온도는 동공 형태를 결정하는 중요한 인자일 뿐만 아니라, 층상 알루미나의 구조수 일탈 거동을 결정하는데 중요하다. 열처리 효과는 단지 최종 제품의 동공 분포를 결정하는데 영향을 주고 있는 것으로 해석되었다.

• 한국수산과학회지
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• 제44권3호
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• pp.290-297
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• 2011

The phenology of Campylaephora hypnaeoides J. Agardh and optimal conditions for carpospore release, growth and reproduction were examined in the field and in the laboratory from January to December 2007. In the field population of C. hypnaeoides, approximately 50% of the plants were vegetative during the study period. Additionally, the percentages of carposporophytes and tetrasporophytes were maximal in April (37%) and June (57%), respectively. Maximum growth in plant length, dry weight, and hook number coincided with the tetrasporophyte reproductive peak in the field. In culture, carpospore release, sporeling growth and reproduction were affected by environmental factors such as daylength, temperature, and salinity. The liberation of carpospores was maximum under continuous light and at a combination of $15^{\circ}C$ and $10\;{\mu}mol$ photons $m^{-2}\;s^{-1}$. Maximum growth of tetrasporophyte sporelings occurred at a combination of $20\;{\mu}mol$ photons $m^{-2}\;s^{-1}$ of constant light and $25^{\circ}C$. However, the growth of gametophyte sporelings was maximal under $40\;{\mu}mol$ photons $m^{-2}\;s^{-1}$ of constant light and in a combination of $20^{\circ}C$ and 35 psu. The tetrasporophyte sporelings were grew faster than gametophytes, indicating that gametophyte- and tetrasporophyte-sporelings have different physiological responses to irradiance and temperature. Tetrasporangial branches and cystocarps of C. hypnaeoides were produced from carpospores and tetraspores within 1 month, and they were stimulated at high temperature and irradiance levels. In conclusion, C. hypnaeoides should be seeded using carpospores during early winter (November-December) because cystocarps are easily identified by fishermen, and tetrasporophytes grow faster than gametophytes.

• 복식
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• 제61권6호
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• pp.38-59
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• 2011

This study is based on the periodical discourse of women and their costumes, described in modern novels that were published from late 1890s to the 1930s. New cultural phenomena emerged among Korean women in the period of modernization. In particular, rapid increase of jobs for women and preference for western female body shape are very noticeable phenomena that can be observed in novels of the 1930s. In addition, the symbolic meanings of female costumes are variously described in modern novels according to the periodical and spatial environment and jobs for women. The symbolic meanings are organized as 'Trophysm, Expression of sexuality, Liberation from male-dominated society, Symbolic difference between rural and urban areas, Vanity, Decadence, Mechanism tending to hide and Change of values'. And women's costumes kept changing in the boundary of 'Confliction, Coexistence and Harmonization' of traditional and western costumes. 'Confliction' phenomenon got emerged in novels published between 1900 and 1910. The resistance on traditional costumes that restricted woman's life got spread. But western female costumes as a symbol of new culture could not be generalized but accepted as high fashion. 'Coexistence' phenomenon was appeared in novels of the 1920s. At that time, the modernization for traditional costumes by female students was emerged along with trendy fashion. Also, the frequency of using western fashion items was increased in the Korean society. Therefore, it shows that western costumes in the Korean society became popularized in the coexistence with traditional costumes. 'Harmonization' phenomenon was emerged in novels of the 1930s. In the novels, the emergence of western female costumes, personal preference items, and westernized hair style implies that western costumes were absorbed into the Korean society that had kept traditional costumes.

• 한국지역지리학회지
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• 제23권2호
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• pp.311-324
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• 2017

본 연구는 초 국경평화공원의 세계적 확산에 선도적인 역할을 하고 있는 남부아프리카의 초 국경평화공원을 사례로 지정학적 관점에서 (초) 국경공원의 역할과 기능, 형태가 시대적 정치상황에 따라 어떻게 변화되어 왔고, 현재 초 국경평화공원의 문제점은 무엇인가에 대해 분석하였다. 남부아프리카의 국경공원은 식민지 시대와 아파르트헤이트 시기, 냉전 및 내전시기에 유럽열강의 충돌을 완화하고 광역 식민지를 분리 통치하고 공산주의와 흑인해방운동의 공간적 확산을 차단하기 위한 역할과 기능을 하였다. 그리고 냉전과 내전, 아파르트헤이트의 종식 이후 국경공원을 통합한 생태학적 초 국경평화공원은 국가 간, 지역 간, 인종 간 대립과 갈등을 해소하고 평화체제를 구축하기 위한 역할과 기능을 하고 있다. 그러나 남부아프리카의 생태학적 초 국경평화공원은 대립과 갈등의 해소와 평화체계의 구축에 효과적인 수단이라는 평가를 받고 있으나 국가 간 인적, 재정적, 기술적 자원의 불균형과 백인과 흑인 간의 경제적, 문화적 차이로 인해 남아프리카 공화국의 정치-경제적 지배와 인종집단 간 사회-공간적 갈등이 재생산될 수 있다는 비판도 받고 있다.

• 한국조경학회:학술대회논문집
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• 한국조경학회 2007년도 Journal of Landscape Architecture in Asia Vol.3
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• pp.118-126
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• 2007

Seoul has been the former capital from Joseon founded in 1932 by this time for 600 years. Seoul populated by some 10,290,000 people is the largest city in Korea. There are lots of cultural inheritance such as the castle town and 5 palaces including Gyeongbokgung in Seoul. Especially neungs(royal tombs) from 27 generations of king and queen in the Joseon dynasty during 518 years are very important cultural inheritance. The royal tombs were built from the castle town to the radius outside 4km within 40km pivoting on Seoul. Joseon royal tombs might have significant cultural value, which are representative Korean people's spirits for ancestor worship. After the 1945 Liberation of Korea those are having been managed by Office of Cultural Properties after Ministry of Education. This paper tried to find the changing process of the conservation and maintenance, the location of royal tomb area, the changing process of royal tomb, the area changing clue of modernization process, and in the historical city, Seoul. The royal tombs in the Joseon dynasty of the radius outside 4km within 40km pivoting on Seoul have been contributed to providing the metropolitan, Seoul population with the cultural and green spaces for 600 years. In the Joseon dynasty the royal tombs had been taken charge of thoroughly by the Royal Household with Neungchamboing system from Confucian background for ancestor worship. There after they had been damaged somewhat by the Japanese Imperialism period, the Korean War, and the pressure of urbanization. But the original state has been preserved well by state management. The royal tombs in the Joseon dynasty has been kept the culture of royal tomb's and memorial services with stone sculptures for 518 years. Also there are lots of documentary records of royal tombs. The memorial services of the tombs are held by Jongyakwon of Jeonju Lee family every year. The royal tombs somewhat damaged are needed to the original state of the transferred right of managing agency by the related national bodies.

• 미술이론과 현장
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• 제3호
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• pp.9-34
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• 2005

Contemporary Korean art in the 1960s and the 1970s reflects the social and political contexts in Korea from the 5 16 revolution through the Yoo Shin period. This paper investigates whether art has been free from power or not. It examines the power embedded in contemporary Korean art in the 1960s and the 1970s. This paper examines the historical moments of the Korean Art Exhibition, focusing on the complications between the abstract and figurative artworks of the 1960s. One of the significant art exhibitions since the 8 15 liberation of Korea, the Korean Art Exhibition witnessed conflict among Korean artists who wanted to have power in the art world of Korea. Institutional contradiction based on factionalism and conservatism prevailed in the Korean Art Exhibition was attacked by the avant-garde young artists in the 1960s. With the contact of Abstract Expressionism, young artists' generation participated in the The Wall Exhibition. This exhibition challenged and established moral principles and visualized individual expression and creation similar to the Informal movement in the West. In the world of the traditional painting of Korea, the Mook Lim Exhibition of 1960, organized by young artists of traditional painting, advocated the modernization of Soo Mook paintings. Additionally, abstract sculptures in metal engraving were the new trends in the Korean Art Exhibition. In the 1970s, the economic development and establishment of a dictatorial government made the society stiffen. Abstract expression died out and monochrome painting was the most influential in the 1970s. After the exhibition of Five Korean Artists, Five White Colors in the Tokyo Central Art Museum in 1976, monochrome paintings were formally discussed in Korea. 'Flatness' 'physicality of material' 'action' 'post-image' 'post-subjectivity' and 'oriental spirituality' were the critical terms in mentioning the monochrome paintings of the 1970s. 'Korean beauty' was discussed, focusing on the beauty of white which was addressed by not only Yanagi Muneyoshi but also the policy of national rehabilitation under the Yoo Shin government. At this time, the monochrome paintings of the 1970s in Korea, addressing art for art's sake, cutting of communication with the masses, and elitism, came to be authorized.