• Cartoon and Animation Studies
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• s.17
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• pp.83-95
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• 2009

As an exploratory research on China's animation, this study aims to enhance an understanding of the trends and characteristics of China's animation through examining its history and to forecast its future development trajectory. From its founding to recent period, China tried to maintain Communist political system through imbuing national identity to its people through management and supervision of media products under direct government's leadership in combination with ideological education. Such policy was also implemented in animation, major audience of which is children. With regard to the introduction of the policy and its influence, five historical phases could be identified as follows. During the first phase, from the founding of the Republic until the Cultural Revolution, national culture was introduced to China's animation. The second phase, which corresponds with the Cultural Revolution period, marks the decline of national culture. National culture was reemphasized during the third phase that follows the Cultural Revolution, which led to the nomination of the 'China school,' followed by the fourth phase, during which China's animation suffered the second decline due to the spread of TVs and foreign animation imports. Reintroduction of national culture on China's animation in the context of rapid industrialization process before and after 2000 characterizes the recent phase. It can be expected that although there could be some change in methods and forms, China's animation, which introduced national culture from its inception and maintained remarkable resilience following the period of decline, will continuously stress the its own national cultural identity.

• Journal of the Korean Society of Costume
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• v.31
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• pp.61-73
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• 1997

Kon-myuh was worn by the ancient Chinese and Korean rulers as ceremonial dress during special rituals such as worshipping heaven and ancestors marriage or funerals. kon-myun consists of two major parts-Myun and kon-bok (the main bodypiece) as well as other articles of clothing(skirt footgear etc), There were regulations set in ancient books describing in detail the make of the kon-myun number of ryu and symbol to be used all which applied to each ruler depending on rank and status. This study is aimed at examining the consistency of the korean and Chinese in following the regula-tions as seen in relics which have been recovered from the past. Based on historical findings it seems that Korean Kon-myun came to Korea from China during the Three Kingdoms period. It was also worn in the Koryo and Chosun Dynas-ties and the Taehan Empire. In studying Konmyun in Korea the researcher studied a book from the early Chosun dynasty, Kukjo-oryeuiseory and a book from the late Chosun Dynasty Kukjo-sangrye-bopyun to find the guidelines and rules applying to the Kon-myun tradition. Slight difference were found across time in the supplementary articles of clothing as seen in Uigwe Pokwan-doseols explanations and drawings of Kon-myun. The researcher used uigwes of funerals of kings of the Chosun Dynasty and observed change over this period of time. However there was a clear consist-ency: the king's Kon-myun consisted of 9ryu-myun 9chang-bok while that of the prince consisted of 8ryu-myun 7chang-bok. For the Taechan Empire the researcher used Tae-han Yae-jun which shows the emperor's kon-myun to have consisted of 12ryu-myun 12chang-bok. To study how the regulations were put into practice relics were uncovered from the periods being studied. A portrait of King Ik-Jong remnants from King Ko-jong's Kon-bok and a photograph of Emperor Sun-jong all were in close adherence to the regulations outlined in the books. In China Kon-myun was worn by emperors from the Han to the Ching Dynastices. The researcher investigated Kon-myun es-pecially in the Ming Dynasty. The Kon-myun regulations as read in Tai-ming-hui-chan changed through all four periods. To study the faithfulness of practice to low Ding-ling the tomb of Emperor Shin-jong who ruled during a period of the Ming Dynasty was unearthed and the remains of the Emperor's Kon-myun were analyzed. The Kon-myun consisted of 12ryu-myuh 18chang-bok and there were other differences I color symbols and wearing method when compared to the regulations. It can be concluded that the Chinese Kon-myun tradition was not in strict adher-ence to the regulations established by law books. This is in contrast to the Korean Kon-myun tradition which showed little devi-ation. Further study is needed to understand why there was this difference in tradition and ritual.

• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.9
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• pp.901-915
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• 2012

This study comparatively analyzes the characteristics, changes, and differences in class-based costume typology according to a concept of $17^{th}$ and $18^{th}$ century common people in France. The methods and contents are as follow. First, the scope of common people is grasped according to the historical background and a concept of $17^{th}$ and $18^{th}$ century common people in France. Second, through considering a prior research on analyzing the data of ancient documents on the economy of clothing, it classifies common people into bourgeoisie, urban common people, rural common people, and the destitute. It then examines diachronic evolution, and class-based synchronic difference in the consumption of $17^{th}$ and $18^{th}$ century common people's costumes in France. Third, it analyzes the appearance frequency by period according to type of common people's costumes, which were shown in pictorial materials with 283 sheets of engravings and 54 pieces of paintings; in addition, it reconstructs the succession and expansion in typology. It grasps differences and changes in morphology by class, space, and period of typology for common people's costumes. Common people's consumption of costumes was understood to have grown in qualitative aspects as well as a rise in the whole clothing demand. A class-based structure formed and indicated that a fashion cycle existed. As a result of analyzing common people's clothes (shown in pictorial materials of the $17^{th}$ and $18^{th}$ century) 41 items were grasped by gender and according to costume kind. Typology in common people's costumes (classified into bourgeoisie, urban common people, rural common people, and the destitute) showed a change by period. A change in typical costume typology was accepted more by the bourgeoisie than by urban and rural common people, and was accepted more by rural communities than by urban populations. Thus, a difference was formed through an expansion with a temporal difference that depended on class and space.

• Journal of Families and Better Life
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• v.20 no.4
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• pp.61-73
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• 2002

The aim of this study is to understand the modernization process of interior spaces in the Korean housing, focused not only on the architectural aspects, but also on the sociological, anthropological and feministic aspects of housing. The development of korean housing from the period of traditional agricultural society and Japanese domination through the period of industrial development to the period of modem industrial society have been reviewed not from the Point of westernization but from the point of Korean own needs for modernity. It also tried to find the determinants of the relationship between social behavior patterns and space organization through historical change of housing plans. As a result, it was found the various western impacts to the continuation or change of Korean housing culture in the modernization process. Consequently this study comes to the concrete results as follows; 1) sociological aspect: The early layout of floorplans, that promoted the communication and contact between the user were changed. The layout of spaces in the modern housing tends to be not interdependence each other and be very isolated from the outdoor spaces. Those Phenomena reflect the trends to the Individualization, equivalence and privatization in the life of family. 2) feministic aspects: Differently from the early kitchen, modern ones locates in the internal space in the housing and the dinning area is appeared. And also the standing work at the kitchen war usually spreaded. Such changes are due to the emancipation of the women and downfall of the subordinate relationship between the genders. 3) anthropological aspects: The lifestyle, in which the user was mostly sitting on the floor, was constantly disappeared by using of furnitures that determines the function of each spaces in the housing. Those change demonstrate the change of behavior Patterns, thus, the needs of differentiation of function as well as the feministic needs. In other word, the coexistence of both fields of work and relax is required. 4) tectonic aspects: In the indoor space of modern housing the rooms are closed each other. Thus, concentrated circulation system act to separate these spaces. It is concrete spatial element that mostly shows the synthetic character of modem housing.

• KSCE Journal of Civil and Environmental Engineering Research
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• v.38 no.1
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• pp.73-80
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• 2018

In motorway traffic flow control, the conventional way based on real-time response has been changed into advanced way based on proactive response. Future traffic conditions over multiple time intervals are crucial input data for advanced motorway traffic flow control. It is necessary to overcome the uncertainty of the future state in order for forecasting multiple-period traffic volumes, as the number of uncertainty concurrently increase when the forecasting horizon expands. In this vein, multi-interval forecasting of traffic volumes requires a viable approach to conquer future uncertainties successfully. In this paper, a forecasting model is proposed which effectively addresses the uncertainties of future state based on the behaviors of temporal evolution of traffic volume states that intrinsically exits in the big past data. The model selects the past states from the big past data based on the state evolution of current traffic volumes, and then the selected past states are employed for estimating future states. The model was also designed to be suitable for data management systems in practice. Test results demonstrated that the model can effectively overcome the uncertainties over multiple time periods and can generate very reliable predictions in term of prediction accuracy. Hence, it is indicated that the model can be mounted and utilized on advanced data management systems.

• Journal of Conservation Science
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• v.26 no.2
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• pp.109-120
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• 2010

Four gilded bronze objects and a gilded silver object were examined for elemental diffusion between the gilding layer and the mating matrix. The gilded bronzes consist of three objects from three different historical periods, the Korean Three Kingdoms period, the Koryo and the Choseon periods and one from an unknown period. The gilded silver was from the Koryo period. The amalgam process seems to have been the major technique employed for all of them in gilding. The occurrence of substantial diffusion was observed in all but the anonymous object, particularly in the Choseon artifact where evidence was found that the diffusion phenomenon was intentionally utilized in gilding. The gold content in the gilded bronzes decreases gradually from surface to interior while the copper content increases to the interior, making it difficult to locate the boundary between the gilding layer and the matrix. This gradual change in composition must have resulted from elemental diffusion at elevated temperatures. The oxygen content negligible in the gilding layer precludes the possibility of corrosion being responsible for the varying composition. It is observed that non-uniform diffusion caused variation of colors in the surface of gilded bronzes. The change of colors induced by diffusion, which is always accompanied by the unique surface morphology and chemical compositions, is distinguished from the color change by corrosion. In the gilded silver object, diffusion of mercury was observed along with that of gold and silver.

• Journal of Fashion Business
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• v.2 no.3
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• pp.121-136
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• 1998

The purpose of this study was to present a new research method of stage costume by designing and making the stage costume of Yean-GaeSoMoon(淵蓋蘇文) in Peking Opera Du Mu Guan (Korean; Dog Mog Guan, 獨木關). The stage costume of Peking Opera was formed on the basis of the Chinese traditional stage costume in the Qing period, however the style of stage costume was beautified the costume of Ming period and here contained the factors of successive costumes. But the stage costume of Peking Opera didn't have the same rank system with real history costume and didn't have demarcation according to period and history. In the stage costume of Peking Opera, the color is cultural language that can inform spectators of sex, age, personality, position of characters. The pattern of decoration also symboled the personality and characteristic of the character. Yean-GaeSoMoon in the play wore green armour (Chinese; ru ying kao 綠硬靠), red pants (Chinese; hong ku 紅褲), red mustache (Chinese; hong ran kou 紅髥口), crown (Chinese; da e zi 大額子), shoes (Chinese; hou di xue 厚底靴) and Xue RenGui wore white armour (Chinese; baikao 白靠), red pants (Chinese; hong ku 紅褲), shoes (Chinese; hou di xue 厚底靴), hat (Chinese; za jin 扎巾). By historical materials, Yean-GaeSoMoon was a nationalist who uphold national sprit and the greatest hero of the age and a charismatic politician who combines literatural arts with military arts. Considering these reviews, defined the thema of his new costumes' image as "the flying bird which has three legs"(三足鳥), the bird which symbolized the sun and immortality in Koguryo fresco. On the basis of this image, presented three types of Yean-GaeSoMoon's stage costume. Yean-GaeSoMoon as the minister in the court wore black gown (Chinese; mang pao 蟒袍) of dargon pattern which symbolizes harisma who opening the heaven. He as the general who directs war wore red mantle (Chinese; dou peng 斗蓬) which symbolizes the blue dragon that soaring into the sky, as the officer who fights the enemy's general wore green armour (Chinese; gai liang jia 改良甲), red pants (Chinese; hong ku 紅褲) which symbolizes the flying Sward that blowing violently. By wearing these stage costumes, the image of Yean-GaeSoMoon could changed from the fierce general of minority race who likes to fight, to the Koguryo general who fights against enemy at the risk of his life for Koguryo's autonomy. Through this study once again we could realized that stage costume played very mportant part In outstnding the characteristic of actor in the Peking Opera.

• Cross-Cultural Studies
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• v.52
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• pp.223-251
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• 2018

This paper comparatively considered how Korea and Japan address the concept of 'postwar' in descriptions of their literary history. In Japan, 'postwar' refers to the period after World War II (Asia-Pacific War). This word implies a variety of contexts such as collapse, poverty, confusion, calendar reform, reconstruction and restoration as well as a series of historical events such as war, war defeat, and American occupation; and so it has been treated in Japanese society a significant period. In the history of Korean literature, it is after national liberation that the word 'postwar' appeared; however, it has usually indicated 'the period after the Korean War.' The question is that although the term of postwar refers to periods after different wars, Koreans used the term of postwar also in the same way as Japan, and their concept of postwar overlaps with the concept of prewar or postwar used in Japan, and accordingly, side effects are produced that fail to grasp properly the independent characteristics and significance of the Korean War. In conclusion, the Korean War brought about contrasting effects on the history of Korean and Japanese literature. While the Korean War meant a start after the war in Korean literature, it became a turning point marking the end of postwar in Japanese literature. Such different perceptions on postwar also have major implications in that perceptions represent postwar discourses in today's Korea and Japan.

• The Korean Journal of Archival Studies
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• no.12
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• pp.237-272
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• 2005

This paper aims to research the historical development of the archival systems in the Primorskii Krai of the Russian Federation. The history of the archives in this region might be divided into the three periods. The first period extended from the territorial acquisition of the Far East to 1938, when the international situation reached the crisis. From then to the end of the Second World War the history of the archives of the Primorskii Krai underwent the second period. The third period has ranged from 1945 to the present day. As the imperialistic countries, including England, Germany and Russia, claimed and conquered the lands in China in the last decade of the nineteenth century, the Russian government was forced to produce a lot of records, which resulted in the establishment of the several archival institutions in the Far East region. Although the Soviet government issued "Decree On the Reorganization and Centralization of Archival Affairs in the Russian Socialist Federated Soviet Republic" in 1918, the political turmoils prevented the Primorskii region from constructing the archival system. However, A. P. Georgievskii and his colleagues made desperate efforts to arrange the archival administration. Thanks to their struggles, the Far Eastern Republic, a buffer state, which existed from April 6, 1920 to November 14, 1922, passed the autonomous regulation, which defined the organization of the committee for the archival administration in the Primorskii region. The Primorskii Krai Archive originated from the committee. As the international situation became aggravated in the East Asia, the Soviet government made a decision to evacuate the records from the Far East region to the western Siberian cities like Tomsk, Omsk and Minusinsk. It was on August 1943 that the Central National Archive of the Far East of RSFSR was established in Tomsk. After the end of the Second World War, the main archival institutions of the Primorskii Krai, that is, the Central National Archive of the Far East of RSFSR and the Primoskii Krai Archive have played an important role in the archival administration in this region. The archivists have not only prepared the catalogues, but also proceeded the descriptions of the archival collections. Furthermore, the archival institutions of the Primorskii Krai have published a series of archives and contributed to the development of the archival system in the Far East of the Russian Federation. It might be concluded that the archives of the Primorskii Krai, reaching were the products of the desperate efforts which the archivists of this region made from the 19th century to the present day, regardless of the political changes.

• Korean Journal of Heritage: History & Science
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• v.46 no.2
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• pp.150-165
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• 2013

This study aims to investigate the original position, the writer of signboard handwriting and the period of Wibongmun and Joyangru in order to restore Wibongmun and Joyangru which have been designated as tangible cultural properties (有形文化財). They also have to be moved in the Gangwon Provincial Office. Wibongmun and Joyangru were established as government offices in chuncheon(春川官衙) and they were used as attached buildings in Chunceon (春川離宮) in 1890. Wibongmun was moved to Gangwon Provincial Office 5 times and Joyangru was moved twice. In order to move them back to the original place, by using the topographic map made by the Japanese Government-General in Korea, we find out Joyangru was located in the exit of Gangwon Provincial Office and greenhouse and we also figure out Wibongmun was located in the garden. While we study historical evidence on handwriting, we also find out the handwriting of Joyangmun was written by Songhaong (松下翁) Jo, Yun-Hyeong (曺允亨). Especially, Joyangru had played a role as a government office and it may be called 'Joyangru' after reconstructing 'Joyangmun' when attached buildings were established. Through this study, we found that the first period and reason of establishing Wibongmun and Joyangru was at least before 1788. Through this study, we can find the period of both and its historic meaning more clearly.