• (The)Study of the Eastern Classic
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• no.66
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• pp.331-362
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• 2017

The paintings of the Eight Drunken Immortals refer to the paintings based on an influential poem called "The Song of the Eight Drunken Immortals" by Du Fu, a Chinese poet from the Tang Dynasty. This poem is about the eccentricity of the Eight Immortals known for their love of drinking. The Eight Drunken Immortals have been widely appreciated among East Asian intellectuals, and their stories have also been translated into paintings. Greatly influenced by Li Gonglin's Painting of the Eight Drunken Immortals, people in China have the tendency to create similar scroll paintings, using contour drawing tools. Meanwhile, in Korea, the paintings of the Eight Drunken Immortals have been widely appreciated both as a type of visual art embodying the Drunken Immortals' taste for the arts and as a meaningful object conveying the people's wish for longevity and eternal friendship. According to historical records, the paintings of the Eight Drunken Immortals from the Ming Dynasty were drawn on eight-fold folding screens using a sophisticated ink wash painting technique. In the meantime, the Painting of the Eight Drunken Immortals appreciated by King Jeongjo from the Joseon Dynasty was a colored landscape painting with small human figures on an eight-fold folding screen. Since the recent discovery of Yi Han-cheol's Painting of the Eight Drunken Immortals on an eight-fold folding screen, it has now become possible to imagine how renowned artists such as Kim Hong-do and Kim Yang-gi would have made the narrative figure paintings. In particular, the story of Li Bai, one of the Eight Immortals, was the most famous one often told in the paintings. After the 19th century, there was even an entire panel of narrative folding screen made about Li Bai. As painting manuals and outline drawings were pervasively used, the narrative paintings on Li Bai were mass-produced among commoners. As you can see from this, the Eight Drunken Immortals have been visually represented as thirsty souls who are not disconnected from the world, as honest men of refined taste for the arts, and as protagonists of an object that conveys the people's wish for longevity and eternal friendship. In other words, the paintings of the Eight Drunken Immortals embody multiple undertones: as paintings based on Du Fu's poems and as narrative paintings on the Eight Immortals.

• Journal of Popular Narrative
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• v.26 no.3
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• pp.161-188
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• 2020

This paper seeks to expand the scale of literary history by restoring and analyzing the whole aspect of Kwak Hashin's works, which has so far been studied little. For this purpose, I notice the rupture of discontinuity of his works which is greatly divided into the colonial period and post Korean war period. And the characteristics of each works can be analyzed based on the three axis, local(colonial period), jobless person(post-war period), and Homo Economicus(some short stories, and popular novels in post-war period). In Chapter 2, 'Local-the world of Munjang', I evaluated that Kwak Hashin's novel, which had been published in the late 1930s in the Journal of Munjang, embodied anti-modern aesthetic consciousness, as clearly revealing the sorrow for disappearing things, the pre-modern sense of time, and the preference for local. In Chapter 3, 'Jobless Person' and Chapter 4, 'The State of All People's Struggle against All People, The Appearance of Homo Economicus', the Korean society in late 1950s, which entered underdeveloped capitalist countries after Korean war, can be characterized by two contrasting male-gender, one is the jobless, incompetent male, and the economic man on the other hand. In the late '50s, Lumpen(=Jobless Person) novels showed the problems of the Korean economy through incompetent male character. The intelligent men took the path to survival rather than morality or intimacy, projecting their own incompetence and anxiety to women/wives. In the popular novels Women's Song and The Shadow of the Fig Tree, achievement-oriented male figures who betrayed their colleagues, and exploited women's sex by using love relationships to rise to the top appeared. They can be defined as the Homo Economicus who embody the state of universal struggle against all people. These novels showed the formation of the masculinity in post Korean war period, which pursued the survival of the fittest, borrowing form of popular novel. As we have seen so far, Kwak Hashin needs to be re-evaluated as an writer who expanded the modern literary history in the outside of literature. He was the last generation writer written in Korean late colonial period, and provided the model of postwar literature by borrowing the form of journalism and popular novels.

• Journal of the Korean Society for Library and Information Science
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• v.51 no.4
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• pp.121-138
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• 2017

As information users seek multimedia with a wide variety of information needs, information environments for multimedia have been developed drastically. More specifically, as seeking multimedia with emotional access points has been popular, the needs for indexing in terms of abstract concepts including emotions have grown. This study aims to analyze the index terms extracted from Getty Image Bank. Five basic emotion terms, which are sadness, love, horror, happiness, anger, were used when collected the indexing terms. A total 22,675 index terms were used for this study. The data are three sets; entire emotion, positive emotion, and negative emotion. For these three data sets, co-word occurrence matrices were created and visualized in weighted network with PNNC clusters. The entire emotion network demonstrates three clusters and 20 sub-clusters. On the other hand, positive emotion network and negative emotion network show 10 clusters, respectively. The results point out three elements for next generation of multimedia retrieval: (1) the analysis on index terms for emotions shown in people on image, (2) the relationship between connotative term and denotative term and possibility for inferring connotative terms from denotative terms using the relationship, and (3) the significance of thesaurus on connotative term in order to expand related terms or synonyms for better access points.

• Journal of Fashion Business
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• v.2 no.1
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• pp.71-75
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• 1998

The Miaos who is the minority people mainly living in the southwestern part of China, expressed their indicator and solidarity through the costume in order to maintain their racial character while experiencing numerous adversities over thousands of years, where the costume has served as a source of cohesion as well as a primitive religious thought, and also showed their faith, desire, longing and aspiration. This study examined the Miao's traditional costume by classifying it into the following; hair style, headdress, upper and lower garments, and other costume. And the silver ornaments used for attire and their symbolic meaning were examined. The result of the study is summarized as follows. 1. The reason that types of the costume has been diversified is because there was promise of ancestors who intended to differently express the type of a kind as symbol of the racial branch that is the Miao's special type of society. Thus, the costume type could tell where a tribe live. Another reason is because only marriage between families with different surname but the same type of costume was accepted. 2. As women made and wore the costume themselves, it also served as a means of being proud of their skill or wealth, they tried to make it more beautiful and it was also used as a token of marriage or love between relatively enlightened men and women. 3. The design used on the costume was expressed as a symbolic meaning of indicator to strengthen the racial solidarity because it connoted worship to ancestors who had experienced lots of adversities. 4. The hair style was expressed in various styles by using Kache such as Chukye, Byunbal and Kokye. It is likely that ornaments used on the head of women in the form of cow's horn or silver crown were used as one of the methods to stress the valuableness of the cattle that were essential to agricultural life. In addition, various styles of turbans were used to indicate the respective regions. 5. Cock's feather ornaments or silver ornaments in the form of pheasant's feather on the edge of women's skirts, peasant's feathers that men wore on their head, or Baekjoui and men wore resulted from the Miaos' thought of adoration for birds, which implied a primitive religious meaning. 6. As the region where the Miaos live yields much silver, the silver ornaments were mostly used to be proud of wealth, which symbolized light and pureness.

• The Research Journal of the Costume Culture
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• v.6 no.1
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• pp.84-93
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• 1998

The main focus of this paper is to provide clear understanding about the concept of make-up as total fashion by defining the essential meaning of it. First, we would like to go over the concept of make-up and total fashion, then analyze the make-up image, the changes of colors and images of make-up overtime and fashion that have influenced over those changes. In this paper, we analyze the trend of fashion and make-up in 1990s and their relevancy. Through this paper we hope that make-up can be accepted as a part of total fashion in its relationship with other elements such as shoes, clothes and accessory and that it can be considered as a independent art that has direct influence on people. The trend of Spring/Summer between 1990 and 92is the image of natural beauty and comfortable and modernistic image that can be experienced through nature. In 1992, there was a revival look of 1960s and 1970s. Make-up also followed this trend. The overall color tone was to give natural and stable images with pastel tone to soften the images. This tone brought back the ecology of 1960s. The theme of restoration in humanity and nostalgia was reflected in clothing, and these trend changed the ecology of make-up to peace, love and romantic ecology which was expressed in coral, blue, and green tone to create intelligent image of woman. Year 1996 could be called as color revolution period that emphasized the unique and individual expression of each person. In 1997, black, pastel and brown colors were the result of reinterpreting the classic and sexy images of 1960s to natural and modernistic image of 1997. Purple color started to be introduced to us. The beginning of 1990s Fall/Winter season was based on ecology concept that emphasized the natural image. Until 1995 it appeared that spring/summer and fall/winter trend had no big differences. But from 1995 seasonal differences in trend are appeared and there were various make-up designs. In 1995, 1996, brown color lines make-up comes to mix with romantic image and developed into wine, orange, neon colors. These color were the symbol of property and sentiment and gold make-up emphasizing the eye area was the tendency of that period. In 1997, the fear of coming end of century was expressed as decadent image and at that time ethnic image, romantic image appeared with vivid color lines, gold, red and violet.

• Journal of the Korean Geographical Society
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• v.50 no.2
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• pp.185-201
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• 2015

This paper suggests how Korean housemaids, called Sikmo, and Korean-Chinese migrant domestic workers have similar class positions and therefore form a dual identity in their interactions with female employers. rough spoken stories of the experiences of 27 females from Seoul, including Korean-Chinese domestic workers, Korean housemaids, and their employers, this research effectively overcomes the dichotomous discourse of natives versus foreigners. Instead it suggests the new interpretation that it is not foreignness but class inferiority of the domestic workers that plays a key role in establishing relationships with employers. Korean housemaids and Korean-Chinese domestic workers, both groups of whom are migrant workers, have developed coping strategies to enhance their labor value by spatially relocating themselves from their home society to a new society. They possess a similar labor status in women's history, being of low income, low education, and rural births. Consequently, these women experience 'translocal anchoring,' meaning their identities are intertwined with that of their home societies, and employers perceive them based on the characteristics of these places. The Korean employers perceive that the domestic workers' morality and intellectuality are inferior based on their class differences. This stigmatizing process leads employers to regard domestic workers as ambivalent people, not only threatening outsiders but also objects of pity, needing love and protection of their employers. The employers educate them culturally, teaching them skills to survive in the urban environment. These skills include cooking and language, in addition to advice on long-term plans to blend into society.

• Archives of design research
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• v.14 no.2
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• pp.163-174
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• 2001

William Morris(1834-1896) was the most versatile and talented of all British nineteenth century polymaths. Since his death over one hundred years ago his achievements as an artist, designer, manufacturer, shop-keeper, poet, author, publisher, printer, collector, teacher, conservationist, political activist and environmentalist have influenced the lives and work of people throughout the world. Moris is now best known for his attractive and colorful patterns. The decorating firm of Morris, Marshall, Fault & Company(Morris & Company after 1875) was established in 1861. Over the years it produced works, ranging from stained·glass windows and furniture to tapestries, carpets and printed and woven fabrics, that had great influence on the course of British design. His earliest experiments with the craft were amateurishly worked embroideries made for his own use. Before long, Morris began to produce textiles on a more commercial basis. In order to control production properly, Morris set about learning the various textiles techniques, first dyeing and blockprinting, hand-loom jacquard and eventually, carpet and tapestry weaving. This extraordinary involvement with the practical side of manufacture separated Morris from all other designers of his time and contributed in no small way to his success. Morris's designs for textiles, embroidery, dyeing, woven, carpet and tapestry were commercially produced, that are most universally admired and frequently copied today. These have a timeless quality arising from the designers respect for and knowledge of the technique. Of equal importance was his love of nature, evidence of which can be seen in even the smallest details of each of his patterns.

• The Korean Journal of Archival Studies
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• no.63
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• pp.167-225
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• 2020

The author conducted a records research named 'daily life and records.' The purpose of the research was to find an archive, if possible, that would be effective in promoting exchange and cooperation among people in their daily lives, and to distinguish what type of archive it would be, as well as how to let it naturally take place in their ordinary lives. For 4 months (August-December 2019) with 100 college students in their 20s, trial and error were repeated. There was no separate laboratory for the research, and it used regular school hours at universities. Although it is true that there was a control through power by the college system, the plot was centered on the sunshine policy. To human being there is a voluntary and positive attitude. If anyone begins to take this attitude it is difficult to stop such action. Through emotional support, this voluntary action was encouraged to take root. The experiment was an attempt to doubt the obvious, and to search for something new. From afar, this may seem irrelevant to archives. However, for the author who is a professional archivist, it was a time of records through control by Records principles. By organizing into a form of story, its archival implications are observed.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.2
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• pp.69-76
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• 2017

The following summarizes the findings from an analysis of literature and 21 versions of the Bible published in Korea, China, and Japan to discuss the name of Myrtus communis. Myrtus communis was an important tree symbolizing love and resurrection since the Ancient Mesopotamia, Egypt, Judas, Greece, Ancient Rome, and Medieval Spain. In the Bible, Myrtus ($h{\acute{a}}das$) was used to make the booths at the Feast of Tabernacles or for various ceremonies. Myrtus symbolized the people of Israel and also symbolized peace, appreciation, indestructibility, and resurrection. In the Bible of Korea, China, and Japan, Myrtus was translated into various names by time, such as '崗拈樹', '千里香', '鳥拈', '番石榴', 桃金孃, Gamtangnamu, Seoglyunamu, Hwaseoglyu, Sogwinamu. 'Myrtle' was translated into '桃金孃' based on Japan's "熟語本位 英和中?典(1915)" and it seems that the mistake was directly excerpted by the English-Korean Dictionary(1949) after the Liberation. According to the theory of 'Dynamic Equivalence' in translation, it would be best to use 'Myrtus' was the official name of Myrtus communis.

• Korean Journal of Social Welfare
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• v.56 no.2
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• pp.215-235
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• 2004

A little understood but rapidly growing phenomenon in our society is remarriage. By 2002, 21% of marriage involved the remarriage of one or both partners. Furthermore, the ratio of remarriage of women has outnumbered the ratio of remarriage of men, which is remarkable change compared to the traditional culture putting a taboo on women's remarriage in Korea. The purpose of this study is to construct the perspective and the direction of programs for enhancing the remarriage family functioning. For the purpose, we explore the intrinsic vulnerability to family dissolution of remarriage and ill preparation for remarriage of people. There are unrealistic myths around, lack of informations on, absence of guideline for remarriage family life. Also, we discuss the process of remarriage family development, which leads us to the conclusion that the remarriage shows totally different family structure and family interaction from first marriage nuclear family. Based on discussion mentioned above, several suggestions are provided for developing programs for remarriage family functioning. Above all, the family developmental perspective on remarriage is more useful paradigm rather than deficit-comparison perspective for remarriage family. Also, the programs for remarriage family functioning should challenge the unrealistic myths around remarriage such as the instant love between step-parents and step-children, the re-created nuclear family, etc. Also, several points such as the remarried family developmental stage, the disparity in expectation of man and woman on remarriage, and the tendency to scapegoat a stepmother should be considered in programs for enhancing remarriage family functioning.