• 한국환경과학회지
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• 제12권2호
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• pp.101-109
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• 2003

Yangdong village is located at Kangdong-myun, Kyungju, Kyungsangbuk-do, Korea. There are two major families, the Sons of Wallsung beginned from Son, So(1433∼1484) and the Lees of Yeohkang the descendant of Lee, Unjeok. They are lived together under check and help for 500 years. The village located on the hill of Ankang plain. There are Homyung mountain and Sonaiu peak in front of it and Solchang mountain on the back. 47 shaped ridges form Blue dragon to the east, and White tiger to the west. Ahnrockchon flows from north Joined Hyungsan river and flows into Youngilman. Therefore the village is located at mountain on it's back and along with stream. Buildings are deployed on the valley between hills, it is not easily detected, but it give it's atmosphere of mountain village. Village location and space composition combined with natural environment, folk belief, feng-shui, and social system of confucianism. Blended buildings affected between ruling and ruled classes or among different families shown environmental design accomplishing united cultural space. The prospect of Yangdong village, a mountain village, expressed two sides of visible scenery of open inside and invisible from outside. Observation point such as head family house, pavilion, and village school are deployed at the point taking bird's-eye view, which striving mental stability.

• 영어영문학
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• 제58권1호
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• pp.3-19
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• 2012

This paper argues that the hard-boiled detective fiction is not a commercialized imitation of the classical detective novels but a revisionist detective fiction. Producing a radically different type of detectives from the traditional ones, the hard-boiled detective fiction provides a new, opposing paradigm of criminality, class, and masculinity to the classical detective fiction. Classical detective novels, through the heroic portrayal of high-class detectives capturing and punishing lower-class criminals, reassure class hierarchy. Hard-boiled detective novels, however, representing the ruling classes as the root of social oppression and political corruption, define the power elite as criminals. Whereas the classical detective fiction displays aristocratic masculinity, the hard-boiled detective fiction embodies working-class masculinity. The classical detective is generally represented as a genteel dilettante solving the mysteries of crimes, in his leisure time, through logical reasoning and scientific techniques. The hard-boiled detective, however, solves crimes by using violence and earns his living from catching criminals. The hard-boiled detective also maintains an absolute independence by keeping a distance from all forms of authority and connection. The representation of hard-boiled detective as a tough, rebellious, independent guy can be interpreted as a reaction to the advent of corporate capitalism and the rise of labor control in the 1920s.

• 패션비즈니스
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• 제3권2호
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• pp.37-47
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• 1999

In the 17th century, Europe had changed from medieval feudalistic ages into an absolute monarchy taking Catholicism and absolute monarchism together. On the other hand, Holland achieved prosperity in economy, culture, and arts through gradual enlightment of the people by winning independence from Spain, and religious reformation. The culture dress and its ornaments at the time was led by the governing class such as royal families and its aristocracy in Europe, while Holland, united republic country at the time, brought civil costume nationwide wholly by civil class and its effect to other neighboring countries in Europe. In addition, the origin of modern dress and its ornaments dates back to that time. Moreover, civil-looking dutch paintings found its sources in routine daily life and became realistic. With this respect, in this research, we put our purpose of the research in making a better and more understanding of the modern costume and its ornaments and exploring the spirit of human beings by analyzing dutch civil costumes shown in these artistic works. It is very important that this research is rather renovational comparing with prior ones focused on those of ruling classes. As a result of the research, the distinguished parts of the civil costumes appeares as following beauties. First, functional beauty was respected such as natural waist line, peplum, gather of the skirt and sleeve, apron, head towel were some of the examples to those in their costumes and its ornaments. Second, with respect to humanity under rough natural surroundings and long struggle with outside tribes, humanity of costume was brought by optimistic and even free mind to them. The three quater sleeve showed wrist and deep-cut decollete in their dress and ornaments. Third, with respect to simplicity, religious effect on the leading civil class demanding self-abstinence, frugality, and thrift in their way of life resulted in black-tone simple costumes with white collar in their costumes and its ornaments.

• 한국지역사회생활과학회지
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• 제15권1호
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• pp.17-26
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• 2004

Not much is known about Korean clothes from past centuries. Fortunately, we are able to make some inferences based on various sources of data other than the actual clothes themselves. Historical records such as Kim Hong-do's Pungsokhwa Pieces, well known to us, vividly depict features of the costume and the lifestyle of his time along with contemporary Korean humor and atmosphere. Kim Hong-do is the artist who, having accomplished pictorial refinement, recognized social change and took this into his artistic world late in the 18th century. The ruling classes, in contrast, tended to adhere to anachronistic medieval philosophies in a gradually changing society. In this study, Kim Hong-do's Pungsokhwachop, Treasure No. 527, preserved in the National Museum of Korea, was viewed from a new perspective, and it was discovered to have assorted the costume and culture of ordinary people according to their life styles. Fourteen of the pieces depicted how common citizens made their living, three described love affairs, five depicted people at play, md the rest showed elements of education, wedding ceremonies, and shamanism, respectively. Various types of clothing were observed reflecting the life styles of ordinary people, and a somewhat bold exposure of body was noticed in women's fashion in the late Chosun Dynasty. They chose clothing as they pleased to fit their jobs and functions, which produced elegant self-regulation and creativity based on practical beauty. A hat - yet to be found as a relic - appeared in Blacksmith's Workshop, and revealed the changing social customs of the late Chosun Dynasty in the 18th century. It is hoped that the results of this study will serve as a valuable reference point for the globalization of Korean clothes.

• 영어영문학
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• 제57권1호
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• pp.171-190
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• 2011

Shakespeare's plays deploy an interesting array of food signs in a way to illuminate the historical process of what Stephen Mennell has described as "the civilizing of appetite"-a process in which the changes of food choices and eating habits took place in response to the changes in people's way of life and personality structure over the long-term modern period since the middle ages. Shakespeare's plays suggest that the civilizing of appetite in early modern England was heavily affected by the forces of social mobility as well as the nascent market economy. The Capulets' costly preparation of Juliet's wedding banquet is a showcase of conspicuous consumption which was a structural necessity for the ruling class in Shakespeare's time. Some fifteen years later, the same kinds of foodstuffs are included in a shepherd's shopping list for the sheepshearing festival in Winter's Tale. This is a significant coincidence to prove that food was an important source of emulation and contest among different social classes; and that the rich diet of the upper class gave impetus to social mobility. The Elizabethan subjects, especially among the elite noblemen, were interpellated by the ideology of food that equated the quality of food and the eater's social identity. Faced with bankruptcy as a consequence of his extravagant consumption habit, Bassanio in The Merchant of Venice testifies to the gripping ideology of food onto early modern people, while Poor Tom in King Lear presents a comic parody of the rich people's conspicuous waste. Also in Coriolanus and The Merry Wives of Winsor, Shakespeare uses food as a metaphor for class-motivated social struggles.

• 대한가정학회지
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• 제19권2호
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• pp.123-133
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• 1981

If we are to define that the traditional costume is a comprehensive expression of the culture, thoughts, and arts of a country, it is needless to say that the traditional costume would have always reflected the social and cultural aspects of the times. In order words, the cultural contemplation of a certain people at some point the history is only possible when we observe the distintive features of the costume worn by the people of respective times. Although the Korean people had the native costume of its own from the times of the Ancient Choson to the Three Kingdoms of Koguryo, Paekche, and Silla, the Chinese influence on Korean traditional costume became somewhat pronounced ever since the Silla strenghtened the political ties with the T'ang dynasty in China, and it came to a climax when the dual structure in Korean native costume, being compounded with the Chinese touch, continued to be prevailed from the era of the Unified Silla to the Koryo and throughout the succeeding Yi dynasty, thereby copying the typical aspects of Chinese pattern in clothing and dresses worn by the ruling classes, namely the goverment officials including the Kings. Therefore, it is our aim to study the pattern of Chinese influence on our traditional costume, as well as social and cultural aspects by way of contrasting and comparing our official outfit system, which had been developing in dualism since the era of the Unified Silla, with that of China, and to trace in part the Korean traditional costume. In comparing our traditional official outfit system with that of China, we have basically concentrated on the comparison of the official outfit systems during the periods of the Three Kingdoms, the Koryo, and The Yi dynasty with that of corresponding era of Chinese history, namely the dynasties of T'ang, Sung, and Ming, and followed the documentary records for the comparison. Koreans had fallen into the practice of worshipping the powerful in China and begun to adopt the culture and institutions of the T'ang dynasty since the founding of the Unified Silla. From this time forth, Korean people started to wear the clothes in Chinese style. The style of clothing during the period of the Koryo Kingdom was deeply influenced by that of the T'ang and Sung dynasties in China, and it was also under the influenced of the Yuan dynasty(dynasty established by the Mongols) at one time, because of the Koryo's subordinative position to the Yuan. At the close of the Koryo dynasty, the King Kongmin ordered the stoppage on the use of 'Ji-Joung', the name of an era for the Yuan dynasty, in May of the eighteenth year of his rule in order to have the royal authority recognized by a newly rising power dominating the Chinese continent, the Mind. Kind Kongmin presented a memorial, repaying a kindness to the Emperor T'aejo of the Ming dynasty in celebration of his enthronement and requested that the emperor choose an official outfit, thereby the Chinese influence being converted to that of the Ming. As a matter of course, the Chinese influence deepened all the more during the era of the Yi dynasty coupled with the forces of the toadyic ideology of worshipping the China, dominant current of the times, and the entire costume, from the imperial crown and robe to the official outfit system of government officials, such as official uniforms, ordinary clothes, sacrificial robes, and court dresses followed the Chinese style in their design. Koreans did not have the opportunity of developing the official outfit system on its own and they just wore the official outfit designated on separate occasions by the emperors of China, whenever the changes in dynasty occurred in the continent. Especially, the Chinese influence had greatly affected in leading our consciousness on the traditional costume to the consciousness of the class and authority. Judging from the results, Koreans had been attaching weight to the formulation of the traditional outfit system for the ruling classes in all respective times of the history and the formulation of the system was nothing more than the simple following of the Chinese system.

• 복식
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• 제56권4호
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• pp.65-81
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• 2006

This is the study on the costumes of Parthian Period in Persia which had powerful influences on the Occidental and Western cultures in B.C 3 to A.D 3. With different types of Parthian costumes in each period, this study shows what types of costumes people used to wear and how they were co-related with its surrounding cultures. The ancient costumes of Korea had something to do with the elements of the Northern part at that time. To make an intensive study of Korean ancient costumes, these Parthian costumes which are known to those of northern nomadic tribes are studied to provide basis elements for study between the Korean styles and the exotic styles. The basic forms of the Parthian styles were jackets and trousers. They consisted of three kinds of jackets such as those to be adjusted In the front, tunics and coats. As for trousers, they were divided into three types such as those with horizontal pleats, round-side pleats and vertical pleats. 1) The jacket to be adjusted in the front was long enough to reach the hip and fit the body reasonably tight, and its neckline was shaped into V-type. It was a very popular style among the people of high and low classes. 2) The tunics had narrow sleeves. It was a one-piece pattern which reached the knees. It was settled with a belt on the waist. Its neckline was shaped into the round but its slit was not cleat. Its styles were into tight-fit and drapery ones. 3) The coats were almost similar to the jacket to be adjusted in the front with short length, but they were entirely long and open. They appeared later than the short jackets and the people of high class seemed to wear these styles. 4) 1'rousers with horizontal pleats - They had almost horizontal pleats on them, and they were a little tight. They seemed to be the early style in the Parthian period. 5) Trousers with round side-pleats - With saggy side pleats on them, these trousers had round pleats like a drapery style. This pattern was also considered Hellenistic elements shown in the Parthian costumes. The trousers consisted of the underdrawers and the leggings (called salwar or shalwar), which is thought to emphasize its functionality for its wearer to mount a horse with more ease. 6) Trousers with vertical pleats - With straight vertical pleats on them, these trousers had some volumes and bias decorations in the middle of them. These styles were thought to be worn by the ruling class of the Parthia from early to late period.

• 한국사회복지학
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• 제36권
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• pp.309-338
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• 1998

제2차 세계대전 이후 한국과 일렬에서 전개된 미군정(한국: 1945-1948년, 일본: 1945-1952년)은 양국 모두의 역사에 중요한 영향을 끼쳤지만 그 내용과 결과는 상당히 달랐다. 본 연구는 양국 미군 정의 사회복지 정책을 공공부조정책에 대한 비교사례연구의 방법을 통하여 고찰함으로써 양국간의 공통점과 차이점 및 정책결정 요인들을 규명하고, 나아가 장기적인 영향을 평가하였다. 본 연구의 결과는 다음과 같이 요약할 수 있다. 첫째, 양국의 미군정은 유사한 시기에 유사한 사회문제에 당면하고 있었지만, 복지정책적 대응은 매우 다른 양상으로 나타났다. 한국의 미군정은 복지정책의 법적 제도화를 위한 노력을 거의 하지 않았고 임기응변적인 응급구호에 치중하였으며, 사회적 통제에만 골몰하였다. 반면 일본의 미군정은 비군사화 민주화라는 점령정책의 기본 원칙을 복지정책에도 적용하여, 기존 제도의 근본적 체계적 개혁을 위한 노력을 경주하였다. 둘째, 이러한 차이를 결과한 정책결정요인에 있어서는 사회경제적 요인보다는 정치적 요인-미국 점령정책의 기본 방향의 차이, 행정 구조의 차이, 관료 및 지배세력의 역할 차이 등-이 보다 중요하게 작용하였다. 셋째, 복지정책의 장기적 영향에 있어서도 상이하였다. 한국의 미군정은 복지정책의 제도적 근대화에 거의 아무런 공헌도 하지 못하였으며, 그 결과 전근대적인 구빈제도가 오랫동안 존속하였다. 반면 일본의 미군정은 복지정책의 이념적 제도적 근대화에 기여하였음은 물론 이후의 발전을 위한 토대를 형성하였다.

• 만화애니메이션 연구
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• 통권35호
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• pp.227-253
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• 2014

이 글의 목적은 만화에서 느끼는 '재미'는 '현실'과 연관되어 있음을 밝하는 데 있다. 궁극적으로는 독자의 현실인식이 확장되는 결과와 맞닿아 발생한다는 것이다. 서론에서는 문제점을 지적했다. '재미'는 현실적 삶의 동력임에도 불구하고, 만화의 '재미'는 주로 현실과 상관없는 상상적 결과로 인식한다. 결과적으로 '재미'가 '현실'을 인식하는 과정과 맞물려 있다는 것을 간과한 것이다. 만화이야기에 관한 창작방법 이론 역시 '개성'과 '본성'을 주로 강조한다. 이런 결과로 '현실'을 소홀히 다루는 한계를 갖는다. 본론에서는 한국만화에서 느끼는 '재미'와 '현실'의 관계를 조명했다. 첫 번째, '재미'의 이론적 배경을 둘러보았다. 그리고 만화의 여러 장르에서 '재미'의 다양한 특징을 살펴보고, 공통적으로 '현실인식의 확장'이란 결과와 맞닿아 발생하는 것을 확인할 수 있다. 두 번째로는, 역사적으로 한국만화의 주된 소재가 '현실'을 그려왔다는 것이다. 하지만 '만화에 묘사된 현실'은 '실제의 현실'과 다르다. 작가의 '상상적 현실'이다. 일반사람보다 뛰어난 사람을 그려냄으로써, 신화적 기능을 하며 '재미'를 낳는다. 세 번째로, 한국만화에 묘사된 '만화에 묘사된 현실'은 주로 정서적으로 '감정적 현실성'으로써 독자들과 공감대를 형성하고, '재미'를 낳는다. 한편 작가의 '현실인식'의 한계로 인해 지배이데올로기에 순응하는 결과를 보여준다. 네 번째로, '실제적 현실'을 묘사한 한국만화를 살펴보았다. 일본제국주의시대의 신문만화, 80년대 민중만화, 그리고 2천년대 생활기록만화, 세 영역으로 구분하고, 각각 성격을 살펴보았다. 주요특징으로, 실제적 현실의 주요 모순을 다루고 있다. 이런 결과, 독자의 현실인식을 확장시키고, '실제적 현실'을 인식하는 '재미'를 준다.

• 자연과학논문집
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• 제8권2호
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• pp.289-321
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• 1996

조선 후기는 임진.병자 양난을 계기로 사회전반에 급격한 변화를 겪으며 근대 사회로의 전환기를 맞는다. 즉 전쟁으로 인한 국가제도의 문란과 혼란해진 사회구조 속에서 신분제도가 해이해졌고, 상업경제체제와 화폐경제의 발달로 인한 부유한 중인 계층이 대두되었고, 사상적으로는 유교가 공리공론에 빠지면서 유교윤리의 약화현상이 나타나면서 현실치중 의식을 보이는 실학사상이 등장 하였다. 또한 서민문예의 대두로 서민의식을 가진 서민계층(서민의식을 가진 양반계층 포함)이 등장하게 되었다.이 서민 계층의 등장은 복식에 있어서의 대중복식문화를 부각시키면서 유행현상이 출현되었다. 그리고 대중은 이 전환기 사회에서 변화된 그들의 역할과 가치관은 이제 더 이상 지배층에게서 영향력 행사할 충분한 권력이나 매력을 찾지 못했다. 따라서 이들은 새로운 상징적 선도자(Symbolic leaders) 즉, 모범을 보여주는 새로운 대상을 찾았고, 그들의 상징적 선도자는 바로 '자유분방하고, 사회활동을 하는 독립된 여성, 그리고 시와 가무를 즐기는 풍류가이고 또한 신체적으로 매력을 지닌 멋장이인' 기녀들 이었다. 선도자 그룹인 기녀계층에 의해 제시된 새로운 Fashion과 Style인 Erotic Mode와 사치 Mode는 그 시대 사조를 반영하면서 대중이 의식과 기호에 크게 맞아 떨어지자 큰 호응을 얻고 수용되었다. 즉 이들대중은 선도자 그룹을 모방 함으로써 그들과 자신들의 동일시를 성취하고 선도자의 Prestige를 나누어 가지고자 했던 것이다.이러한 이유로 해서 기녀들은 하류계층임에도 불구하고 조선후기 시대의 "패션의식적인"사회집단으로서 대중으로부터 주목받고 대중의 기호를 장악하며, 그들의 복식행동은 대중으로부터 강한 수용을 받게 되면서 대중의 의복 행동에 크게 영향을 미치는 유행선도자(Fashion leader)였음을 보게 된다.