• Journal of the Korean Home Economics Association
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• v.38 no.1
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• pp.75-87
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• 2000

The aims of this study are to establish a mode of housing life style that meet the demands of families living in big cities, and the contribute to the development of a better housing life style pattern by considering metropolitan residents' choice of housing and basic concepts of their behavioral patterns. The results of this study were as follows: 1. Value orientation of family life was divided into value orientation of family and value orientation of housing. Value orientation of family was constituted of four factors such as 'harmony', 'leisure and hobbies', 'individual development and its support' , 'education' . Value orientation of housing is constituted of three factors such as 'physical characteristics of house' , '\`environmental condition', 'socio-economic conditions of housing'. The comprehensive life values were constituted of six factors such as 'the importance of communal family', 'the importance of housing decoration and housing life benefits', 'the importance of security and holding environment' , 'the importance of familial harmony', 'the importance of privacy', 'the importance of convenience and natural environment'. Based on three factors, were found to be fine types of value orientation of family life which were 'pursue healthy of family', 'comfort of family', 'clean environment', 'convenient environment', and 'harmonious relationship among family members'. Variables influencing the value orientation of family life were property and price of housing. 2. Consumption propensity when buying house, furniture and durables were constituted of four factors which were propensity to 'beauty', 'fashion', 'tradition and symbol', and 'pragmatic use'. Based on these factors, there were found to be four types of consumption propensity when buying house, furniture and durables which were 'fashion', 'tradition and symbol', 'beauty', and 'pragmatic use'. Variables influencing spending habits were found to be objective social class (SES), types of residence, wife's educational background, and price of housing. 3. Propensity to using space were constituted of three factors which were 'convenience', 'politeness and social grace', and 'housekeeping'. Based on these factors, there were found to be three types of propensity to using space which were 'individuality', 'convenience', and 'politeness and housekeeping'. Variables influencing propensity to use of space were found to be objective social class (SES), wife's educational background, types of homeownership and price of housing 4. According to this study, there were found to be six patterns of housing life style: 1) family that seeks formalist life, 2) family that seeks harmonious life, 3) family that seeks active healthy life, 4) family that combine various factors, 5) family that seeks convenience, 6) family that stresses environment.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.1
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• pp.159-169
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• 2012

Seokgasan(石假山) is originated in Goryeo, is a Korean traditional technique handed down to Joseon and Seokgasan is the Korean creative culture of gardening by artificial stones, which replicates small artificial mountain of natural landscape in the garden. The object of this study is Seokgasan made by Seong-im(成任), who was a civil minister in Joseon and lived from 1421 to 1484, in his residence located in Inwang Mountain, Hanyang and the purpose of this study is to investigate the historical meaning and symbol of Seokgasan made by Seong-im on the base of the relative old literatures and embody its shape and structure. According to the result of this study on Seokgasan of Seong-im, it can find out some facts as follows; Seokgasan of Seong-im in the early Joseon succeeded to the structural form of Seokgasan of the artificial rock mountain type connected pond, which was made-up firstly in the garden of the Palace of Manwoldae in the Middle Goryeo, and it was called firstly as 'Seokgasan' in the garden of Seong-im's house. Seong-im's Seokgasan in the early Joseon had more concentrated philosophical meanings, including the idea of taoist immortal, than those in the Goryeo dynasty and was be emblematic of an imaginative space. Also there were lots of gardens modeled on the famous mountains and famous lakes in China much the same as the Goryeo dynasty. In addition, there was an exceptional purpose for building Seokgasan which could not be found in the Goryeo dynasty. That was practicality for emotional stability and cure. Seong-im's Seokgasan is record-relics with high value of landscape architecture history, which can identify its historical meanings, shapes and structural frames succeeded from the Goryeo dynasty.

• The Research Journal of the Costume Culture
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• v.7 no.6
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• pp.129-139
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• 1999

This paper analyzes the trend of fashion and make-up in 1990s and their relevancy to each other. Based on the chronological analysis, we propose a new category for the fashion and make-up trend in 1990s, which is 1) traditional ecology period(1990∼1994), 2) versatile trial or decadent period(1995∼1997), and 3) soft landing period based on the minimal neo-ecology and romanticism(1998∼2000). Between 1990 and 1994, there was no differentiation in seasons. It appeared that spring/summer and fall/winter trend have had no big differences. At the beginning in 1990s, it was basically based on ecology concept that emphasizes the natural image. However after 1995, seasonal differences in trend are appeared and there were various make-up designs. The trends of spring/summer in 1996 could be named 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. In 1998, pastel tone, pink, and purple color expresses the glamorous look based on the romantic feminism. S/S of 1999 is mainly represented by minimalism and avant garde. For fall/winter trends, brown color lines make-up comes to mix with romantic image and developed into wine, orange, neon colors in 1995 and 1996. These colors were the symbol of property and sentiment. 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. At that time, ethnic and romantic image appeared with vivid color lines, gold, red and violet. In 1998, romanticism was popular again with modernism and ethnic mood. It expressed the romantic elegant image. The trend has returned to the ecology mood again in 1999. This ecology is somewhat different from the previous ecology. It adds a sofistaiced feeling and sportic fashion. To express natural and sportic image, they choose pink blush. In coming 2000 as a new millennium, the yellow color will be main the stream to express vision, dream, and happiness in both fashion and make-up as an accent color. The minimal design and minimal tools will be used for the design and make-up, respectively. In addition, the fusion concept will dominate the fashion and make-up industry in the globalized and boundariless age. 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 and industry.

• The Journal of the Korea Contents Association
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• v.13 no.3
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• pp.65-75
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• 2013

Movie captured audience's whole sense organs to the screen which is made up of visual story-telling decorated by color, sound, and smell. The audience rediscovered native emotions(pleasure, fear, terror) suppressed and left in the compressed world of space and time, that is to say a movie world separated from the real world, by being immersed in the movie story. This study revealed audience's feelings of pleasure and fear by analyzing the movie . First of all, the pleasure would be discussed in terms of Nietzsche's "the will to power." Nietzsche defined something to breathe, move, and will as being alive, and he insisted that its power to life is 'the will to power.' Human beings wish to have power and want to increase it: pleasure, the real motivation of human behaviors and phenomena. The movie well revealed the pleasure by showing nonperson's challenge and victory against social rulers. Second, the fear and terror of the audience will be discussed in terms of in Lacan's psychoanalysis. Lacan extended Freud's id, ego, and superego into the worlds of reality, imagine, and symbol, and suggested a father in symbol world among those worlds. He suggested as a basic and connecting instrument of the socialization just like Signifi$\acute{e}$ and Signifiant, Saussure' basic linguistic structure in "Cours de lingustique g$\acute{e}$n$\acute{e}$rale"(1916). Because father is the symbol and the metaphor of law, the absence of him and resistance against him means obstacles of social stabilization. Finally this paper will also discuss that the fear from the absence of law and the pleasure provoked by self-preserving instincts, that is to say natural feelings, are connected to values of progressivism and conservatism.

• Journal of Families and Better Life
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• v.25 no.6
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• pp.43-57
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• 2007

The objective of this study is to identify the significance of haying many children, their motive of childbirth, patterns of investment in human capital, and their expectations of their children. For this purpose, thirteen mothers of multi-child families have been interviewed in depth. Key findings of the study are as follows. First, the significance of children in many-child families varied. The fundamental features were: symbol of strong ties between God and humans, proud existence displayable to others about their level of happiness, and a means of defining their identity. Second, the typical motives of the majority of interviewees to have many children were "unplanned" but "natural accommodation and adaptation." Third, striking aspects, in terms of many-child families' investment in human capital were to consider many-child families to be a community in itself as a great environment of teaming and to have to deal with issues of limits and impartiality when allocating resources of a limited income and parents' time. Fourth, expectations of parents for their children were "normal growth" and mediocrity, and they cited intangible human assets as the greatest gift to their children. This study will hopefully offer a new analytical perspective to the growing concerns of low birth rates and excessive zeal of parents for their children's education, and thereby lay the groundwork of methodological approaches for resolving such social problems.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.10
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• pp.1559-1570
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• 2008

Since brought into from the economic life of nomads, the felt, the target of this study, has been developed in various ways of giving the functions of class symbol as well of protection against the cold and of ornamentation. Therefore, the study on how the felt was developed in Joseon Dynasty and how different culture from nomadic tribes it formed is significant in comprehensively under,;landing the economic, social and natural environmental factors in the Dynasty. The felt named "Jeon" has been constantly appearing in Korea from the ancient time, but it was not produced actively in the early part of Joseon Dynasty. That's why it was not a climatic condition suitable for sheep-breeding, and the government managed sheep-breeding but it aimed primarily at not producing clothing materials but having memorial ceremonies. Since sheep-breeding was not widely spreaded, production of Jeon was limited and some part was imported from China, so it was one of rare valuable goods. Therefore, the felt of wools named "Yangmojeon", the colored felt named "Chaejeon", etc. were used as liking items in the high-class society, and their materials and components were a little different depending on the official post. On the other hand, people in the low-class society used to wear the felt hats made of cattle feathers and miscellaneous fur, named "Jeonlip" and "Beougeoji". Since the middle of Joseon Dynasty, use of the felt was divided into two groups according to the users and the function, along with successful spreading of cotton and development of market economy. The function of Jeon to protect against the cold was replaced by cotton, but the felt hats of Beongeoji, Jeonlip, etc. were worn by common people continuously. As seen above, it is considered that the felt culture in Joseon Dynasty was formed very differently from the nomadic culture, because of its historical and sociocultural characteristics, and it had unique developing progress among all available fabrics.

• Fashion & Textile Research Journal
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• v.16 no.6
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• pp.927-934
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• 2014

Today Hanbok, the symbol of our nation's culture, has been preserved as cultural heritage despite natural and social environmental changes over years. This study is analyzing Hanbok which were taken in the National Skills Competition from 2000 to 2013; it presents our traditional stitching methods and clarifies the pride the Hanbok artisans have as inheriting the traditional heritage. Therefore this paper contributes to continuous and proper development of the culture of Hanbok and being loved by many people. The assignments about Hanbok featured in the National Skills Competition were categorized by national and local competition, time required to produce assignments, required amount of fabric, type of stitching, unlined and lined clothes depending on the type of assignment; according to the classification, methods for sewing were analyzed in detail. First, the national tournament presented 12 kinds of sewing techniques; especially hand-sewn stitching method appeared in common. Second, the unlined and lined clothes depending on the type of assignments had applied different sewing methods; double-stitching, flat fell seam, french seam, roll over sewing, blind stitch, right angle blind stitch, decorative saddle stitching, darning, etc. were used. Sewing methods in the 21st century has not changed over the years; the shape of clothes was changed upon trends. Sewing became easier than before by the invention of sewing machine, we should carry on our traditional sewing techniques. Through this analysis on sewing methods of the National Skills Competition, I hope to support competition participants for studying Hanbok and indicate proper sewing techniques.

• Journal of Korean Medical classics
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• v.30 no.1
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• pp.145-166
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• 2017

Objectives : The paper aims to study the philosophical background of Huangdineijing by taking into account the fact that its ideas are identical to that of the period between the Warring States and Han. Methods : Through considering the period and the historical backdrop in which Huangdineijing was published, and through considering the book with other texts such as Huangdisijing, the paper draws the common spirit of the time and analyzed the cause and flow of philosophies and ideas that influenced Huangdineijing. Conclusions : 1. Books that upheld Huangdi contained within Hanshu・Yiwenzhi have a common point with the mythical symbol of Huangdi in that they are related to the rule of a nation and the creation of a civilization. Huangdi, who in Huangdineijing bears a need to be understand at this common point of view. 2. The spirit of the period between Warring States and Han can be deduced as "a movement towards unification" and "the development of a civilization infused with spirit of unification." Such spirit of time are reflected in Huangdineijing as Nine Acupuncture(Official Acupuncture) and the establishment of the measuring standards for meridian, bone, and internal organ, and the establishment of the concept of 'Pyungin.' Especially the construction of waterways that connected Huanghe and Yangzijiang river with their tributaries that formed a direct composition of unification was applied to human body in Huangdineijing, thereby establishing the concept of 'Mai'. 3. Unlike Lao Zhuang School of Taoism was not interested in the act of ruling at all, Huangdineijing and its contemporary publication Huangdisijing, present their readers with Number, Law, Rule, Regulation and Governance. Here, the philosophy and the idea which seek "Law" as the methods of ruling the nation by actively participating in the governance of the nation based on the model of natural law and rule appear. Such philosophy and idea is an evidence of the influence of Fajia in accordance with the social and realistic changes witnessed during the time.

• Journal of the Korean Society of Costume
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• v.39
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• pp.59-77
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• 1998

This paper is focused on the traditional sash weaving handicraft of‘She’ethnic group, which is located in Fujian, Zhejiang, Jiangxi, Guangdong province of China. This research is main-ly based on the field work, analyzed and inter-preted the traditional sash in systematic and reasoned way. The summary of this study are as follows : 1. On its technological aspect, weaving structure of the traditional sash is made of warp rod backed weaving. The used tool is primitive one but the weaving process includes scientific method. 2. From the social-cultural point of view, the sash ha been the symbol of love towards her lover. Every woman of this group had taken training for this sash weaving from a child. 3. On its ethnological aspect, it has been long history and has interchanged with other ethnic group like Miao, Han and also Okinawa country of Japan. The pattern inside this sash are almost looks like characters, but they are not Chinese characters whereas are the inde-pendent code of‘She’ group and have been inherent from ancestors and which will be tran-smitted to their posterity. These independent code of‘She’group are the traditional message to their later generation implicating their natural circumstances, human relationship, ethnic myth, spirit etc. 4. I recognize that the pattern inside the sash is defined as the communicative code and in comparison to language, it is more repetition and less apparent as close code. Nowadays China has been developed es-pecially in the economical fields rapidly. Under the circumstances traditional weaving culture of ethnic groups has been facing a crisis of disappearance, which will be a great loss for the country as well as the human beings. For this reason, I emphasize that it is very immediate to make co-researches into the material culture of Chinese ethnic groups.

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.3
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• pp.147-160
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• 2012

The costumes as an expression system in film are inserted intentionally for a particular purpose. Costumes in film, namely the cinematic dress code, and that in reality are dissimilar in meaning structure. The costumes in film perform a role of a complicated eye-catcher in correlation with the other filmic factors. But the previous studies on the costumes in film are focused on the keywords 'fashion style', 'fashion trend', or 'PPL (product placement)'. In film studies, however, the costumes should be observed from the point of view as semiosis, not as fashion, in other words, from the angle of symbol, icon and index. And the meaning and the process of the communication, which that produce, should be pointed out. It could expose, that costumes play one of the key roles for the developing of narratives and the creating of characters in film. Therefore, this study's aim is to examine the semiosis of costumes in film and to analyse the dress code, dress plot, and dress message in (1990) by Garry Marshall. But this work does not try to indicate the problems of the film-semiotics or to intensify the concept of the semiotic terminology. Thus, this study attempts to approach the theme of costumes in film from the perspective of the semiosis and its meaning process. With this, it has been proved, that semiotic systems are in hiding beyond the conventional forms of cinematic costumes and its natural harmony with characters.