• Journal of the Korean Home Economics Association
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• v.11 no.3
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• pp.247-261
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• 1973

In the past, what we call "fashion" was monopolized by only a small highly privileged group of individuals. To-day, we know that fashion field has become progressive democratization of taste not only in clothing, but in all expressions of contemporary living, from automobiles to refrigerators. So, we can find out how wonderful it is that our recent fashionable history was changed so fast. Whatever highly characteristic costume may be in the former, the way people dress was the reflection of their contemporary lives as well as their political status, economics, cultures, arts religions, so that a history of fashion is a history of life. Now, that categorical silhouettes make an exclusion across centuries of past history into the world of aesthetics, particularizes following ; symbolic voluminous toga of Roman authority, the religious but gorgeous Byzantine tunic, extravagant vertical bell-skirt of the Renaissance, the romantic Rococo style, the elegant crinoline and the bustle of the Cul de Paris of the nineteenth. It came true that women was intoxicated ostentations and elegances, since they had on ornamently costume which bear some relationship to the more formal Co-stesy, till the beginning of the twentieth. As Jonney Ironside said, "Nowadays, those exessive ornamentations and cumbersome design hardly belong to a civilization run by machines and in a hurry". These were once a sign of wealth and class ; at the beginning of the twentieth it was disappearing step by step. What is the reason\ulcorner At the end of the nineteenth, the emancipation of women, the movement of the Art Nouveau and the opening of the ready-made, have influenced on modern style, directly or indirectly. Finally, democratically popular costume was caused by fighting against the masculine prejudice excluded them from activities.hem from activities.

• Journal of the Korean Society of Costume
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• v.58 no.1
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• pp.17-32
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• 2008

This study focuses on the analysis of Baudelaire's aesthetic perspective which has established a theoretical basis on research of the critical reviews' salon exhibitions as written by Baudelaire. Charles Pierre Baudelaire(1821-1867) having lived during the latter part of Neo-classicism and the era of Romanticism and Impressionism, Baudelaire displayed opposition to customary realities such as social ideology or religious authority that suppressed human nature. Also he pioneered a new genre known as art criticism and wrote much that provided important insights on the essential elements of artistic work, modernity and trend, as well as art definition and art categories. The aesthetic perspective and creative spirit were formed by Baudelaire, during his age were also reconfirmed in the successive ages of modernism and postmodernism. As such, this study sheds light on how Baudelaire's aesthetic perspective was not only temporarily assertion but it is consistently applied to modern art and fashion area. What is more important that, Baudelaire admired new artificial beauty that is created by the human soul liberated from natural instincts or desires. Especially, informed by strangeness and distinctiveness, Baudelaire's view of fashion ran along the same vein as his view of art, and these views form the basis of that creative spirit which situated western fashion on a center of the world. In conclusion, the research on Baudelaire's aesthetic perspective will reaffirm a firm awareness of the creative spirit essential to globally-oriented creative artists and designers who work within the circumstance of the 21st century, a time when the paving of new aesthetic paths is necessary. The research also offers a clear understanding of the aesthetic values demanded by this age.

• Health Policy and Management
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• v.14 no.3
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• pp.97-121
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• 2004

Recently, human embryonic stem cell research raises exciting public expectation on medical possibilities as well as ethical debate. Embryo management has become an integral part of the management of infertility treatment, researches on embryo and human embryonic stem cells and so on. Britain has permitted the research on stem cells derived from human embryo which made the first nation to allow the cloning of human embryo for the stem cell research. However, new technologies such as the assisted reproductive technologies and human embryonic stem cell research continue to pose an increasing source of ethical dilemmas for physician, scientists, legislators, religious authorities and the general publics to deal with. None the less, the United Kingdom has adopted the most liberal policies regarding human embryo and human embryonic stem cell research. The implication of the British embryo management system are as follows: 1) the development of reproductive technologies and new stem cell research technologies continue to pose legal and ethical debates, since those involve several parties; 2) the UK has taken the legal and institutional approaches to cope with those serious issues; 3) the UK adopted most liberal policies regarding embryonic and human embryonic stem cell researches; 4) the British HFE Act is consistent with the existing Acts related to human embryo management and researches; 5) through amending the HFE Act to accomodate the changes of technologies, the UK try to minimize the legal and ethical burden on undertaking research regarding embryo. The debates about the researches on human embryo and human embryonic stem cells is likely to continue in the Korean society. Because of the controversy and competing ethical values, as well as the evolving technologies, so far no consensus exists in our society. It suggest that it is premature to bring closure by ruling out any particular approaches. Thus our society needs to make an efforts to find a basis which could resolve the societal controversies through enriching the societal conversation about the profound ethical issues regarding embryo management.

• Asian Pacific Journal of Cancer Prevention
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• v.15 no.5
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• pp.2007-2011
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• 2014

Background: Human papilloma virus (HPV) is a common sexually transmitted infectious agent. It is estimated that 10% of all women worldwide are infected with HPV, that is some 660 million each year. HPV vaccination has a reported efficacy of more than 98% for protection against infection in females. In 2008 the Abu Dhabi Health Authority in the United Arab Emirates (UAE) introduced free HPV vaccination for all eligible schoolgirls in both public and private schools. Methods: A cross-sectional study of 640 women aged 18-50 years in the Emirate of Abu Dhabi in UAE from April 2012 to October 2012 was conducted. Results: Thirty-seven percent of the women in our sample had heard about HPV vaccination, and 80% of these would consider getting vaccinated themselves, and 87% would recommend vaccination to relatives or friends. Most women in the study (69%) had a favorable opinion about the vaccine. Only 17% of the women felt it might not be culturally acceptable, and 1% felt that there might be religious objections to HPV vaccination. Vaccine safety and recommendation by a doctor (36% each) were the factors identified most frequently by our sample of women which would enhance the uptake of the HPV vaccination. Conclusions: Knowledge about HPV vaccination among women in our sample was below average (37%); however, 80% of those who had heard about HPV vaccination were willing to be vaccinated themselves, and 87% would recommend vaccination to relatives and friends.

• The Journal of Art Theory & Practice
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• no.13
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• pp.133-156
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• 2012

This paper briefly charts the history of excrement as part of the late 20th-century art and explores ways in which excrement functions in the realms of 'High' art. From Piero Manzoni's to David Hammons' performance , excrement has taken a small yet distinctively important part in the development of contemporary art. In an attempt to challenge the hegemony of 'high' art, on the one hand, and resist the commercialization and fetishization of art, on the other, Manzoni allegedly offered his own "shit" preserved in a tin can and sold it at the price of gold of the same weight. Andy Warhol took the legendary Abstract-Expressionist painter Jackson Pollock as the object of parody, simulating Pollock's dripping action by pissing onto the canvas that had been primed with copper-based paint. Warhol's urination produced splashes and stains of iridescent colors just as the patterns on ordinary abstract paintings. In contrast to Pollock's masculine action, Warhol's pissing alludes to the artist's homosexuality. Excrements in art also provoked controversies, debates, and even acts of vandalism against the artworks. The works of Andres Serrano and Chris Ofili infuriated many Christians for the blasphemous use of excrement with religious icons. Politicians engaged in the heated debates on the use of public and national funds in support of some of the 'politically incorrect' contemporary art. In the midst of media sensation and criticisms, these works challenged the conventional understanding of artistic beauty. The preexisting artworks were also targeted. African-american artist Hammons assumed the role of spectator in by urinating on Richard Serra's sculpture in the street of New York City. It was an act condemnation levelled at the racist pattern of the way in which large portions of funds and commisions of "public" art tended to promote established 'white' artists, whose work or creative process often failed to reflect the actual public. The use of excrement in art is not unusual in contemporary art practices. With its subversive power, excrement plays an important critical roles in the shaping of contemporary art.

• Journal of the Korean Home Economics Association
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• v.24 no.1
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• pp.17-26
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• 1986

War has been a reason for the culture of one conservative country to make contact with the culture of another country. The Crusade, among other wars, caused cultural exchange between the orient and the occident and had a great influence on the western costume. This paper has made an attempt to find out the influence of the Crusade with respect to the cultural exchange between the orient and the Occident and to study the influence which the Crusade has had on the western costume. The Crusade was the war in which the European Christians tried to retake the Holy Land, Jerusalem, from the Islamites through the 11th century to the 13th century. As a result of this war,the autyority of the Pope was weakned, the nobles were ruined and royal authority was consolidated. Due to the contact with the Orient, trade had become active, cityes had developed and the middle class of rich merchant had grown. Gothic architecture also appeared in the Occident at this time due to the religious influence of the Crusade. Turban type headdress and the brink decoration of clothes had been very popular under the influence of the Orient. Embroidery and applique had developed and silk fabrics which had been imported from the Orient had made the costumes more fabrics which had been imported from the Orient had made the costumes more gorgeous and luxurious. Many accessories were imported from the Orient. The Oriental culture contributed to the use of rich and bright colorsm, various ornaments and splendid textiles of the western costume. Owing to the influence of war itself, many costumes had been newly made in order to adapt to the hot desert climates of the Orient. Blazon decorations, uniforms and armour had also developed.

• Korean Journal of Heritage: History & Science
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• v.34
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• pp.102-122
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• 2001

Uymsikdimibang(음식디미방) - a book written around 1670 and implying the methods of understanding the taste of food and drink - records many kinds of alcoholic drinks. it is obviously a practical problem to explain the process of brewing alcoholic drinks. However, if we intend to approach the alcoholic drinks on the practical aspect, we can not explain why many kinds of alcoholic drinks were brewed. I acknowledge only that it was true to have brewed rice wine easily on the basis of the increase of the production of rice and the two-crop farming system of rice and barley in a paddy field as well as, for many kinds of alcoholic drinks to have increased as a result of the development of brewage since the middle and second half of Chosun. It is not until we approach the alcoholic drinks of those days on the level of meaning, value, and symbol that we can get a correct answer as to why Uymsikdimibang records many kinds of alcoholic drinks. In the second half of Chosun, confucian ideology was firmly established in country village societies, the idea of clan rules was instituted, and patriarchal system was organized. Such a social atmosphere was to emphasize the practice of confucian moral principle such as performing religious service on one's ancestors and receiving a guest, and in the course of it, the alcoholic drinks were recognized as important materials all the more. It seems that the subdivision and elaborateness of the meaning of the alcoholic drinks were in progress. As a result, I think that the alcoholic drinks would vary in kind and be graded. From ancient times, the alcoholic drinks were men's favorite foods, and the significance of the authority and prestige given to the alcoholic drinks was increasingly promoted by the rise of the social position of men in the second half of Chosun under the influence of confucian ideology. Subsequently, the alcoholic drinks became symbols which represented even the family's tradition and dignity. Therefore, men born of the nobility(Yangban) tried to brew the various and dignified alcoholic drinks relatively. Through the brewage such as this, they endeavored to maintain their privilege. I think that the diversification of alcoholic drinks was developed in the process of a series of social-institutional change.

• Korean Journal of Culture and Social Issue
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• v.24 no.2
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• pp.193-220
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• 2018

This study aims to analyze qualitatively the people's dysfunctional religiosity for well-being. The participants of this study were 6 the clergy and 6 believers (devotes). The clergy included three pastors of Protestant churches, two Buddhist monks (male and females), and one Won-Buddihst monk. Six devotes included two Protestants, two Catholics, and two Buddhist. There were one female in the clergy and three females in devotes. Data gathered from narrative interviews were analyzed with techniques based on Giorgi's phenomenological strategies and procedures. Twenty two topics derived from their assertions and statements, nine main meanings were classified based on those topics. Main meaning were reward-seeking religiosity, authority oriented religiosity, selfish religiosity, blind or unconditional religiosity, asocial religiosity, inactive religiosity, inexperienced religiosity, emotionally problematic religiosity, and cognitively problematic religiosity. Based on derived topics and main meaning, suggestions for further studies, for example the scale development, and information of strategies for promoting well-being of religious persons were discussed.

• Journal of the Korean Society of Costume
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• v.10
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• pp.63-80
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• 1986

The Old Testament cotains mention of the history of creation and clothing in ancient Hebrew. This study dealt with Hebrew dress customs especially aimed at the manners of their hair styles, headgears, footwear and personal ornaments. References are Korean Revised Version, English King James Version and Revised Standard Version. There is little mention of hair styles and headgears in the Old Testament. Some sort of turban was worn by priests, and soldiers protected themselves with helmets, but most Israelitish men went bareheaded except on special occasions and often wear simple headbands. It was more common for women to use headwear of some type-turbans, scarves, and veils concealing the face. The veil was the distinctive female wearing apparel. All females, with the exception of maidservants and women in a low condition of life, wore a veil. It was the custom for women to wear a veil entirely covering their head in the public. Through most of the Old Testament periods long and thick hair was admired on men and women alike. The Hebrews were proud to have thick and abundant long hair, and they gave much attention to the care of their hair. The caring of hair was deeply related to their rituals. Nazirites never took a razor to their hair during his vow-days, but instead let it grow long, as an offering to God. Men would not cut their beards, but allow them to grow long. The Israelites' standard footwear was a pair of simple leather sandals. This was one of the items of clothing not highly prized. In a colloquial saying of the time, a pair of shoes signified something of small value, and to be barefoot except in times of mourning or on holy place, was a sign either of extreme poverty or humiliation, as in the case of war prisoners. Because precious stones were not mined in the Palestine-Syria region, Hebrews imported them from foreign country. They were consumer-to a large degree limited by their very modest standard of living-but not producers. Hebrews liked the precious stones and were motivated to acquire and wear jewels. Besides their use for adornment and as gifts, the precious or semiprecious stones were regarded by Jews of property. The Hebrews were not innovators in the field of decorative arts. The prohibition of the Law against making any "graven image" precluded the development of painting, sculpture, and other forms of representational art. Jewish men did not indulge in extravagances of dress, and there was little ornamentation among them. Men wore a signet ring on their right hand or sometimes suspended by a cord or chain around the neck. The necklaces, when worn by a male, also bore any symbol of his authority. Bracelets were extremely popular with both men and women, men usually preferring to wear them on their upper arms. The girdle was a very useful part of a man's clothing. It was used as a waist belt, or used to fasten a man's sword to his body, or served as a pouch in which to keep money and other things. Men often carried a cane or staff, which would be ornamented at the top. Among the women there was more apt to be ornamentation than among the men. Hebrew women liked to deck themselves with jewels, and ornamentation of the bride were specially luxurious and numerous. They wore rings on their fingers or On toes, ankle rings, earrings, nosering, necklace, bracelets. Their shapes were of cresent, waterdrops, scarab, insect, animal or plant. Sometimes those were used as amulets. They were made of ceramics, gold, silver, bronze, iron, and various precious stones which were mostly imported from Egypt and Sinai peninsular. Hebrews were given many religious regulations by Moses Law on their hair, headgears, sandals and ornamentation. Their clothing were deeply related with their customs especially with their religions and rituals. Hebrew religion was of monotheism and of revealed religion. Their religious leaders, the prophets who was inspired by God might need such many religious regulations to lead the idol oriented people to God through them.

• Korean Journal of Heritage: History & Science
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• v.53 no.4
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• pp.2-31
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• 2020

CheomSeongDae (瞻星臺) is a stone structure built in Gyeongju, the former Silla Dynasty capital, during the reign of Queen Seondeok (632~647AD). There exist dozens of hypotheses regarding its original purpose. Depending on to whom you ask, the answer could be a celestial observatory, a religious altar, a Buddhist stupa, a monumental tower symbolizing scientific knowledge, and so on. The most common perception of the structure among lay people is a stargazing tower. Historians, however, have suggested that it was intended as "a gateway to the heavens", specifically the Trāyastriṃśa or the second of the six heavens of Kāmadhātu located on the top of Mountain Sumeru. The name "Cheom-seong-dae" could be interpreted in many different ways. 'Cheom (瞻)' could refer to looking up, staring, or admiring, etc.; 'Seong (星)' could mean a star, heaven, night, etc.; and 'heaven' in that context can be a physical or religious reference. 'Dae (臺)' usually refers to a high platform on which people stand or things are placed. Researchers from the science fields often read 'cheom-seong' as 'looking at stars'; while historians read it as 'admiring the Trāyastriṃśa' or 'adoring Śakra'. Śakra is said to be the ruler of Trāyastriṃśa' who governs the Four Heavenly Kings in the Cāturmahārājika heaven, the first of the six heavens of Kāmadhātu. Śakra is the highest authority of the heavenly kings in direct contact with humankind. This paper examined the usages of 'cheom-seong' in Chinese literature dated prior to the publication of 『Samguk Yusa』, a late 13th century Korean Buddhist historical book that contains the oldest record of the structure among all extant historical texts. I found the oldest usage of cheom-seong (瞻星臺) in 『Ekottara Āgama』, a Buddhist script translated into Chinese in the late 4th century, and was surprised to learn that its meaning was 'looking up at the brightness left by Śakra'. I also found that 'cheom-seong' had been incorporated in various religious contexts, such as Hinduism, Confucianism, Buddhist, Christianism, and Taoism. In Buddhism, there was good, bad, and neutral cheom-seong. Good cheom-seong meant to look up to heaven in the practice of asceticism, reading the heavenly god's intentions, and achieving the mindfulness of Buddhism. Bad cheom-seong included all astrological fortunetelling activities performed outside the boundaries of Buddhism. Neutral cheom-seong is secular. It may help people to understand the nature of the physical world, but was considered to have little meaning unless relating to the spiritual world of Buddhism. Cheom-seong had been performed repetitively in the processes of constructing Buddhist temples in China. According to Buddhist scripts, Queen Māyā of Sakya, the birth mother of Gautama Buddha, died seven days after the birth of Buddha, and was reborn in the Trāyastriṃśa heaven. Buddha, before reaching nirvana, ascended from Jetavana to Trāyastriṃśa and spent three months together with his mother. Gautama Buddha then returned to the human world, stepping upon the stairs built by Viśvakarman, the deity of the creative power in Trāyastriṃśa. In later years, King Asoka built a stupa at the site where Buddha descended. Since then, people have believed that the stairway to the heavens appears at a Buddhist stupa. Carefully examining the paragraphic structure of 『Samguk Yusa』's records on Cheomseongdae, plus other historical records, the fact that the alignment between the tomb of Queen Seondeok and Cheomseongdae perfectly matches the sunrise direction at the winter solstice supports this paper's position that Chemseongdae, built in the early years of Queen SeonDeok's reign (632~647AD), was a gateway to the Trāyastriṃśa heaven, just like the stupa at the Daci Temple (慈恩寺) in China built in 654. The meaning of 'Cheom-seong-dae' thus turns out to be 'adoring Trāyastriṃśa stupa', not 'stargazing platform'.