• Journal of Preventive Medicine and Public Health
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• v.10 no.1
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• pp.138-141
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• 1977

The total population of Korea in 1975 was 35,281,000 and population density was $357/km^2$, which is one of the highest rate of the countries in the world. In the early part of 1960's, prior to the initiation of national family planning program in 1962, the natural population increase rate in Korea was almost 3.0%. However, due to the positive support and activity of the national family planning program, the population growth rate has been dropped right below 2.0% in 1970, and decreased to 1.7% in 1975. The average number of children per woman was 5.8 in 1961 and has decreased steadily to 3.5 in 1975. However, traditional value like the 'boy-preference' concept may bring many difficulties of lowering the fertility rate, decreasing number of children less than three in the future. Rising marriage age which had much contributed to decrease the population growth showed preferably falling trends since 1970. There is a prospect that total number of birth will be continuously increased while the fertility rate may be fallen since the age group born during 'baby-boom' soon after the Korean war are becoming the reproductive age group at present time. Considering the above mentioned factors, family planning program should be much improved and strengthened and the government support is much required in order to meet the above mentioned objectives which maintain appropriate level of the population growth.

• Acta Via Serica
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• v.4 no.2
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• pp.129-140
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• 2019

Nana was an important patron deity in the Kušan Empire and the most important deity worshipped by Emperor Kaniška (c. 127-150 CE). She was the head of the royal dynastic pantheon at this time. The cult of Nana may already have existed in Central Asia prior to the arrival of Indo-Iranians in the region, since she appears on a BMAC seal dating to the early second millennium BCE. Similarly, her cult in Bactria may pre-date her appearance in the Kušan pantheon by over two millennia. The spread of Nana's cult over such vast distances vividly illustrates the cultural connections (presumably stemming mostly from trade) that existed from prehistoric times linking the Mediterranean world to that of Central Asia and beyond, with the Iranian plateau at its center. The prevalence of Sogdian coins bearing Nana's name suggests that she was also the principal deity of Sogdiana. In Bactria, the goddess Ardoxšo (Avestan Aši vaŋ^vhī) was also worshipped by Kušāns and appeared on their coins. Nana, who was associated with war, fertility, wisdom, and water, was also equated with the Iranian goddesses Anāhitā, Aši, and Ārmaiti. The cult of Nana-Ārmaiti was widespread throughout eastern Iran.

• Fashion & Textile Research Journal
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• v.8 no.1
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• pp.34-40
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• 2006

Fascism is a term that began to be used from the late 1930s, means an idea and a system that the strong power of the state intervenes or control people's life based on the argument that the existential value of individuals is found only in the total. Fascist looks, which resulted from World War I and II, had brought a new pattern in women's fashion inspired by men's military uniforms. Thus, the purpose of this study was to identify fascist fashion trends in the first half of the twentieth century and to infer various aesthetic values of fascism expressed in fascist fashion looks. The results of this study indicated that expressions of fascism reflected the current ideology of rebellion and appealed to the original national sentiment of the masses. Fascism occurred in response to the contradiction of capitalism and its general crisis had emerged as an ideology with the highest popularity symbolizing power and government during the first half of the twentieth century. It was expressed in military looks as self-centered nationalism and yearning for minorities. Second, fascist fashion looks were not only for political and sexual temptation with the image of power but also for the display of women's status and roles through the bold expression of sexual attractiveness. Finally, fascist fashion looks expressed medieval images praising the feudal age in imagination that contained heroism and at the same time achieved integration under strict social hierarchical order.

• Journal of English Language & Literature
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• v.54 no.4
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• pp.579-597
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• 2008

This article discusses David Henry Hwang's M. Butterfly as a suggestive text for examining Western masculinity in crisis in the post-imperialist age, in which territorial imperialism is no longer valid. Previous scholarship on M. Butterfly has centered around the interlocking dynamics of imperialism, racism and sexism. Such critical attentions focus on how Hwang deconstructs racialized significations of the East and the West. In these discussions, the issue of gender is often addressed merely as a trope to represent the power relations between the East and the West. As such, gender as well as sexuality is highlighted as the very source of subversion of the power relations. My discussion departs from a critique of the gendered trope of the East and the West, highlighting a postmodern agent, the allegedly feminized character Song Lining: a Chinese actor who passes for a woman for political purposes in postcolonial China. Remaining an "inappropriate/d other" in the gendered imperialist discourse, Song becomes an emergent subject, who is capable of playing gender ambiguity for reclaiming a devalued identity, that of homosexual Asian man. Discussing how the central character Rene Gallimard's masculine identity is constructed in a cross-cultural space and how it evolves, I also argue that Gallimard's melancholic death signifies a historical unsustainability of imperialist masculinity in the postmodern/postcolonial age since World War II.

• Korean Journal of Human Ecology
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• v.6 no.2
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• pp.67-81
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• 2003

This study is for analyzing relationship between clothing and shoes design in the 20th century fashion through studying changes of fashion style. At the beginning of the 20th century, the length of skirts became shorten, so that shoes can be shown. For the result of that. shoes has been developed rapidly in its shape, color, material and ornament with having relations with clothes. The 1st World War made fashion to change into economical style. According to that, shoes also changed with regarding its activities and economical efficiency. In the middle of the 20th century. according to the development of mass media. the stars fashion influenced on the trends of clothes and shoes. As young generation. who leads fashion trends, prefer easy and active clothes, shoes also changed into easy style, sneakers were worn widely and platform sole was applied into various shoes. As a result of this study, shoes design was dynamically changed according to fashion style. The study on its functional efficiency is actively studied now however. the study of shoes design is not. When regarding shoes were always worn with clothes, it is impossible to think shoes and clothes are two things. and also I hope the study on relations between clothes and shoes can be more active and consistently implemented.

• Architectural research
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• v.21 no.1
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• pp.1-8
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• 2019

Social housing has a long history in Germany from the first still existing social housing ever, the "Fuggerei" in Augsburg (founded in 1521), over the last 100 years from the end of World War I to today's situation where the need in social housing has increased while the number of housing projects and the number of existing apartments in this program has decreased or ended. Socio-economic changes like demographic evolution, more single households, greater working abilities in bigger cities and an unforeseen highly increased number of migrants within Europe mostly but also from other countries led to the need of affordable housing for a growing number of people who are not able to care for their housing needs in their own responsibility. This is especially true for bigger cities, where the offer of affordable housing is nearly non-existing any more. The family Fugger, a trade and banking dynasty at their time, established a very modern housing concept, providing good and healthy living space for their workers. In 2018 now some trade companies, discounters (ALDI, LIDL, Norma) and IKEA announce to combine their interest in sales in the inner cities with the municipal interest of redensification of existing housing areas and conversion to ecological urban reconstructuring.

• Journal of the Korean Society of Manufacturing Process Engineers
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• v.17 no.6
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• pp.158-163
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• 2018

Major producers have already built compressors since World War I and have been monopolizing all domestic and overseas markets based on the accumulated technology, and the dependency of the manufacturers over the entire industry is deepening. Therefore, it is expected that the technological gap with developed countries will be larger without development of the related technology. Therefore, it is necessary to develop a unique technology for a new type of high efficiency compression system. In this study, we present localization of Hydraulic Compressor which can meet the technical trends such as cost reduction, efficiency improvement, environmental friendliness, wide operating range, low capacity / high capacity compatibility, size reduction, easy operation and easy maintenance.

• The Journal of Art Theory & Practice
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• no.15
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• pp.167-198
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• 2013

This paper explores rich and complex implications of Marcel Duchamp's Mile of String which he created for "First Papers of Surrealism," the Surrealist international exhibition in New York in 1942. Part of a larger project devoted to investigating Duchamp's role in Surrealist exhibitions and his relation to the avant-garde group, this paper focuses on Duchamp's exhibition installation in the 1942 show. Under the title of "g$\acute{e}$n$\acute{e}$rateur-arbitre" Duchamp played an important role as installation and exhibition designer in a series of major Surrealist exhibitions in the 1930's-1960's. The "First Papers of Surrealism" was held by Surrealists who exiled in New York during World War I, and Duchamp created a labyrinthine installation of string for the exhibition, which physically blocked the spectator and optically hindered his or her contemplative view. Unraveling the intricately related meanings of Mile of String as an independent work of art and an installation for a specific exhibition, I examine the work on two levels: first, how the work was situated in the context of Duchamp's oeuvre, particularly his earlier work employing string or thread; second, how and in what way the installation rendered a critique on Surrealism as a group and an avant-garde movement. More specifically, by exploring the concepts of 'pataphysics' and voluntary 'nomadism' implicated in Duchamp's work, I suggest that his Mile of String asserted a critical stance against nationalism and collective identity of Surrealism and manifested a radical individualism founded upon what he called the spirit of 'expatriation.'

• The Journal of the Korea Contents Association
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• v.9 no.12
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• pp.253-260
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• 2009

Gold stock could include the U.K. in the European economy by the alternative plan of the problems that it was occurred while nationalizing industry and a company for economic recovery and national profit after the World War Ⅱ and it was wide and came to open in the country of European most. However, the negation was sentenced to it for the reason of the gold stock which the U.K. adopted in European many countries infringing "freedom of the capital movement" at a European court of law. However, I consider gold stock positively to protect it from hostile M&A of the company of the national strategy from the Middle East and an Asian national rich fund recently in France and Germany. If our country looks straight at reality, Urstatut or the agreement of the majority stockholder have a very strict matter assuming the protection of the existing shareholder and must be able to gain the favor if you look by the flow of such world economy.

• Journal of English Language & Literature
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• v.55 no.1
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• pp.83-105
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• 2009

Modern poetry begins as criticism of modernity and, by so doing, rejects its idea of time. Modernity emphasizes sequential, linear, and irreversible time and progress. Williams rejects the modern view of time, and attempts to substitute literature for history assuming that literature can take us into the immediacy of time. His poetry asserts the true moment of experience as an immediacy, of words co-existent with things. He suggests that modernity and its idea of time already led to World War I and could clearly lead to an actual, manmade apocalypse with continued technological progress. Already in the 1920s, Williams sensed that he was living in a world where such an end could come all true, which is why Spring and All, his greatest early achievement, begins with a parody of the modern apocalypse. Throughout the work, Williams criticizes "crude symbolism" and expresses his longing to annihilate "strained associations," for he believes that the metaphoric or symbolic association is related to order, the center, and the traditional concept of time itself. The metonymic model of Spring and All substitutes a self-reflexive, open-ended, and indeterminate structure of time for the linear and closed one. Instead of supplying an end, Williams only asserts the rebirth of time and attempts to arrive at immediacy while attacking the mediacy of traditional art. His characteristic use of fragmentation and abrupt juxtapositions disrupts the reader's generic, conceptual, syntactic, and grammatical expectations. His radical poetic experiments, such as the isolation of words and the disruption of syntax, produce a sense of immediacy and force the reader to confront the presence of the poem. His destruction of traditional forms, of the tyrannous designs of history and time, opens up rather than closes the possibility of signification, and takes us into a moment of beginning while disallowing temporal distancing. Spring and All, as a criticism of the modern idea of time, asks us to view Williams's work not as an ahistorical text but as a cultural subversion of modernity.