• The International Journal of Costume Culture
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• 제4권3호
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• pp.195-202
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• 2001

Re purpose of this study is to indicate the framework to analyze the contemporary fashion phenomena taking on aspect as above by grafting the mass culture theory onto the study for fashion phenomena. The contemporary culture phenomena look like a same thing apparently, but various individual characters appeared in them. And all cultures are mixed in the name of mass culture, but the subordinate concepts which can classify the culture are still in existence. And this equally appear in the contemporary fashion, one of culture phenomena. The concept of the contemporary mass culture can be explained with the taste culture, Cans' theory indicated, divided into highbrow culture, middlebrow culture, and lowbrow culture. And the phenomena of the contemporary mass culture also can be explained with globalization that came down to homogenization, regionalization hybridization.

• 한국심리학회지 : 문화 및 사회문제
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• 제11권3호
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• pp.67-89
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• 2005

본 연구에서는 대중문화를 학문적 관점에서 개관해 보고 이를 바탕으로 대중문화에 대한 심리학적 접근을 탐색해 보았다. 지금까지 이루어진 대중문화 연구를 연구대상에 따라 살펴 보았으며, 산업과 소비자학, 교육 및 발달심리학의 관점에서도 분석해 보았다. 이와 더불어 대중문화를 바라보는 각각의 관점에 따라 어떻게 연구의 경향과 한계점이 나타나는지도 논의해 보았다. 본 연구는 이러한 분석을 바탕으로 대중문화 연구에 대한 전반적인 심리학적 관심의 촉구, 대중문화에 대한 정서적 체험의 분석과 측정의 필요성, 기획 문화적 관점에서 산업 및 소비자학적 접근의 역할 증대, 청소년 문화를 긍정적으로 수용하는 발달심리학적 시각의 변화, 대중문화 관련 학제 간 연구 등을 제안하고 있다. 이미 대중문화는 우리 실생활에 밀접하게 침투되어 있으나 이를 해석하고 분석하는 일은 심리학적 관점에서 보면 매우 미미하였다. 본 연구는 우리 생활에 함께하는 대중문화에 대한 관심과 그 실체를 인정하는 입장에서 대중문화 논의를 시도하였다는데 의미가 있으며, 본 연구를 통하여 심리학의 관심 영역이 확대되고 대중문화에 대한 접근 방법이 다양화되었으면 한다.

• 한국잠사곤충학회지
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• 제38권2호
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• pp.150-153
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• 1996

1차 액체배양액과 2차 pellet 배지로 이루어지는 대량배양체계의 다른 곤충병원성 곰팡이인 Beauveria bassiana, Beauveria brongniartii, Metarhizum anisopliae, Verticillium lecanii 등에 대한 효용성을 조사하기 위하여 단균사 및 분생포자의 성장율을 비교하였다. 그 결과, 액체배양액에서 단균사의 성장율은 접종 후 72시간에 그 수가 최초 접종수에 비해 103-104배까지 증가함을 확인할 수 있었으며, pellet 배지에서 분생자의 수는 접종 후 3주 째에 103배까지 증가됨을 확인할 수 있었다. 본 실험의 결과 진균의 대량배양을 위해 선발된 1차 액체배양액과 2차 pellet 배지는 여러 곤충병원성 진균의 성장에 효율적인 체계임을 확인할 수 있었다.

• 미생물학회지
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• 제40권2호
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• pp.160-166
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• 2004

The optimal conditions for production of Monascus sp. KM100l cell mass on submerged culture and production of monacolin K on rice solid culture were investigated. An overproducing mutant of Monascus pigments, KM 1001 mutant, from Monascus purpureus KCCM60016 was selected by NTG treatment. The optimal medium for the production of KM100l mutant cell mass is instructed to be composed of 3% glucose, 2% yeast extract, 0.1 % KH$_2$PO$_4$, 0.05% The optimal conditions for production of Monascus sp. KM100l cell mass on submerged culture and production of monacolin K on rice solid culture were investigated. An overproducing mutant of Monascus pigments, KM 1001 mutant, from Monascus purpureus KCCM60016 was selected by NTG treatment. The optimal medium for the production of KM100l mutant cell mass is instructed to be composed of 3% glucose, 2% yeast extract, 0.1 % KH$_2$The optimal conditions for production of Monascus sp. KM100l cell mass on submerged culture and production of monacolin K on rice solid culture were investigated. An overproducing mutant of Monascus pigments, KM 1001 mutant, from Monascus purpureus KCCM60016 was selected by NTG treatment. The optimal medium for the production of KM100l mutant cell mass is instructed to be composed of 3% glucose, 2% yeast extract, 0.1 % $(KH_2PO_4$, 0.05% $MgSO_4{\cdot}7H_2O$, 0.2% L-asparagine, pH 4.5, and the optimal inoculum size and shaking speed were $1.5{\times}10^6$ spores/50 m1 medium and 150 rpm, respectively. On optimal conditions, 4.1 g/l of the cell mass was obtained at 28$^{\circ}C$ for 3 days. The mycelium were inoculated on 500 g of steamed rice using vinyl bag ($30.6{\times}44$ cm) and incubated at $30^{\circ}C$, 85% humidity for 21 days. Lactone form monacolin K was rapidly increased for 2 days and reached highest concentration of monacolin K (2,930 mg/kg) for 15 days, and monacolin K was decreased after 15 days.

• 미술이론과 현장
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• 제5호
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• pp.25-41
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• 2007

Despite continuous efforts to redraw the boundaries between art and culture, the conventional concept of originality has persisted in approaches to the practice of contemporary art. In the discourse of originality, various forms of lesser arts that employ the method of replication have been referred to as kitsch, or "rear-guard," the opposite of avant-garde. This categorization points to the contested issue regarding the oppositional relation between modernism and mass culture. With its easily accessible content and financial affordability, mass culture has become both an irresistible attraction and a most powerful threat to modernism. This threat has instigated a discursive system that has situated mass culture as a cultural other of modernism. Taking the marginalized category of kitsch as the area of contention, this paper examines a discursive repression of kitsch. It analyzes the conceptual framework that defends originality and autonomy in art and, conversely, degrades kitsch as an inferior and dangerous cultural category. Greenberg'S concept of kitsch as a by-product of industrialization evolved into the criticism that advocates the autonomy of art. The Frankfurt School scholars, particularly Theodor Adorno and Max Horkheimer, practiced comparable cultural critiques. Focusing on mass culture such as film, radio, and television, instead of art works, they critically analyzed the system of mass culture and theorized the negative implications of the ubiquitous presence of kitsch. Some critics, on the other hand, perceived the growth of mass culture as opening possibilities in cultural development. Walter Benjamin and Harold Rosenberg asserted the socio-cultural dynamics of mass culture underlining the potential for continual transformation in reality and in the subject. They acknowledged that technological advances changed the condition of creation and enabled unmediated interactions between media. By scrutinizing conflicting views on kitsch, this paper intends to reassess arts that draw "the forces of the outside."

• 복식
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• 제54권4호
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• pp.1-14
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• 2004

This study suggests the popular culture theory as a basic framework to find out the characteristics of contemporary fashion show meeting the popular culture, and describes that the show is the popular culture of this generation. The culture is the way of our life unifying the world at common area of human being. The popular culture is to subdivide it into the public culture that shares aesthetic taste, and to borrow each other and develop it mutually because of the collapse of dichotomous boundary with high quality culture, and to represent the people’s thought and behaviour expanding their areas. The author has examined the characteristics of popular culture of modern fashion show by four collections, that is, commercialism, mass media, political relationship and interaction, etc： Firstly, at the commercialism, the fashion show combines it with other genre organically to do mass production and sales and produces cultural consumption goods supplying a lot of sight-seeing. Secondly, at the mass media, the image of contemporary fashion show has been spread out with mass media such as fashion magazines, cable TV and Internet beyond time and space to produce advertisement effects and makes new fashion and bring democratic culture. Thirdly, at political relationship, the fashion in its peak can make a big stream of wealth, so that it plays important roles under governmental regulations in this era and governments make efforts to support and develop it. Lastly, at interaction, the fashion show shares media functions to let users participate in the program and to exchange information as a feedback to influence each other.

• 복식문화연구
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• 제10권1호
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• pp.13-27
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• 2002

Applying H. Gans' taste culture theory to the comtemporary fashion phenomena this study had an object to classify the fashion phenomena in Korea and Japan from 1995 to 1999, and look into and compare them. First of all, the characters of each fashion group of the two countries show that the details of the Korean traditional costume are grafted into the most popular style in each season in Korean high fashion and oriental look used the formative method far Japanese traditional costume and Tokyo street style are reflected in the Japanese high fashion. Mass fashion in Korea equally comes under the influence of European high fashion, Korean street fashion, and Japanese mass fashion, And mass fashion in Japan reflects European high fashion and japanese street fashion. The Street fashion in Korea was affected by Korean entertainers'fashion, 'Tongdaemun market fashion' in Seoul, and Japanese street fashion. And street fashion in Japan is also affected by the pursuit of powerful personality, the absolute imitation if Japanese entertainers' fashion, and 'Tongdaemun market fashion'. All of two countries exercise considerable influence over mass fashion each other.

• 가족자원경영과 정책
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• 제12권3호
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• pp.45-58
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• 2008

The purpose of this study is to determine how the culture of modern mass consumption is understood in determining a decent lifestyle. This study examined a variety of literature on this problem. The important results are as follows. The culture of consumption has evolved through the increase of productivity in modern industry. People's desires have instigated a developing consumption culture: the concepts of advertising, fashion, over-consumption, and conspicuous consumption. The dissemination of this new consumption culture in an information-rich society, facilitated by the popularization of the Internet, has started to influence every nook and comer of our lives. This change of lifestyle has resulted not only in positive effects, but also in negative ones, such as distortion of information, and inequality. Thus the culture of modern mass consumption has created a new concept of class order and has reinforced the unbalance between opinion-leaders and opinion-followers. It has also increased the ratio of needs to wants. Consumption makes escape and sensual pleasure possible. The conclusion of this study is that the culture of modern mass consumption has not upheld its original purpose, that is, the qualitative enrichment of life through consumption. It has only caused the disintegration of individuality.

• Preventive Nutrition and Food Science
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• 제2권1호
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• pp.66-70
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• 1997

A mixed-culture of Gluconobacter suboxydans IFO 3172 and Saccharomyces uvarum IFO 0751 was per-formed in a synthetic medium. the optimal inculum ratio of G. suboydans and S. uvarum for mixed-culture fermentation was 150:1. The optimum pH, incubation temperature and aeration rate for mixed-culture fer- mentation were 5.0, 3$0^{\circ}C$ and 2.25vvm, reapectively. As a result of batch pure-and mixed-culture fer-mentation, specific growth rate in pure-culture of both strain was lower than that in mixed-culture. The yield of cell mass from S. uvarum exclusively decreased. The growth rate of the mixed-culture was very similar to the pure-culture in the begining of culture, but it has been decreased after 16hrs. In the mean time, S. uvarum in mixed-culture fermentation could grow due to fructose converted, but it could not row in pure-culture fermentation. Thus, the relationship was a sort of commensalism. The kinetic parameters cal-culated through steady-state results during continuous fermentations are as follows :{TEX}$$\mu$_{max1}${/TEX}=0.118({TEX}$h^{-1}${/TEX}), {TEX}$Ks_{1}${/TEX}=0.330(g/L),:{TEX}$$\mu$_{max2}${/TEX}=0.162({TEX}$h^{-1}${/TEX}), {TEX}$Ks_{2}${/TEX}=0.038(g/L). The yield of bacterial cell mass relatively constant, but yield of yest cell mass was gradually decreased.

• 복식
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• 제56권7호
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• pp.58-67
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• 2006

This study of popular culture is in based on an academic point of view and based thereon an investigation of popular culture from a fashion standpoint follows. This study is to suggest that the popular culture theory can be a basic framework to examine the characteristics of fashion Icon and to verify that the characteristics of Fashion Icon is similar to the codes of the popular culture of today, This study considers the characteristics of popular culture as commercialism, mass-media relationship and a symbolic interaction. The images of movie stars projected through diverse entertainment media are the very fashion icons and strong role models that are copied by consumers. Now, the public take the lead in cultural industry, and they create new images as positive receivers of the images of fashion icons, not as mere imitators or followers. Fashion irons have contributed to diversifying the styles of ideal feminine beauty, and their lift pattern and image are one of the major sources to stir up the imagination and inspiration of people. Thus, the times, fashion and entertainment media have continued to evolve, closely affecting one another, and fashion icons play a role of fashion leader, through entertainment media, who takes the initiative in mass fashion without just being confined to the field of entertainment. This study meaningful from the aspect that discussion of popular culture has been placed in a position that recognizes the entity of and interest in popular culture. through this study, I hope that the scope of interest in Fashion design will expand and that approaches to popular culture will become more diversified.