This study is about the strife patterns in modern fashion and the characteristics inherent in them. The study was aimed at offering the basic materials to develop the creative design that can show various visual expression effects. In terms of method, the study was led by the analysis of documents; domestic and foreign fashion, collection magazines etc were used to analyze the strife patterns in modern fashion. According to the findings, the study used the rearrangement of the strife patterns at the same intervals, the arrangement of different strife patterns within one single item, the hybrid arrangement of strife patterns and different patterns, and the use of strife patterns for a certain part of clothing for the purse of emphasis or decoration. First, the characteristics inherent in such strife patterns showed clear simplicity using the same repetition of simple lines or the two colors of black and white. Second, strife patterns changed silhouettes by causing optical illusion, and showed the rhythm effects, such as swelling, wave or movement by distorting and controlling lines or forms. Third, based on irregular intervals or multi-strife, the concept of unclear disharmony and inconsistency was shown with the beauty of hybridharmony by blending various strife patterns with each other, or strife patterns with different patterns, and thus expressing composite images.

The analysis of an art trend in the principle dimension starts by observing the object of work in the perspective of formative composition and recognizing it as a universal system. It can be said that it is consistent with an interpretation method for a form theory of formal history by Heinrich Wölfflin, a leading form critic in art criticism. Hence, the purpose of this study was to find out what are the formative principles in Renaissance Classicism as a design principle to be applicable to modern fashion by reviewing the formative characteristics of Renaissance Classicism Architecture with which Wölfflin directly dealt. As for the theoretical literature review, I used Wölfflin's theoretical framework and looked at the Renaissance Classicism Architecture that he studied and examined the possibility of utilizing his theory as a layout principle and the characteristics. As for analysis of design cases, I applied the aforementioned architecture layout principle to modern fashion and conducted case study analysis to delve into distinctive layout principles found in fashion. The study showed that the Renaissance Classicism Architectural Style is marked by linearity, planarity, closing and multiple unity: linearity was expressed in the observation form in fixed frontal view and an emphasis on a tangible silhouette homeogenous and definite line structures; planarity was achieved in the form of paralleled layers of frontal view element, planarity style, and identical and proportional repetition of various sizes.; closing signified the pursuit of complete and clear regularity, and architecture developed in a constructive phase through organizational inevitability and absolute invariability.; multiple unity was expressed in self-completedness and independent parallel of discrete forms and harmony of emphasized individual elements in a totality. Applying these layout characteristics of the Renaissance Classicism Architectural style and to see their individual expressive features, I found out that in adopting layout principles of the Renaissance Classicism Architecture to modern fashion, it turned out to be an emphasis of individual silhouettes, a flattened space, completed objects, organic harmony among independent parts: the emphasis of individual silhouettes was expressed in individual definitiveness of formative lines of clothes in accordance with body joints and an emphasis on formative lines of clothes; the flattened space was marked by single layer structure, planarity of elements of clothes, and listing arrangement by appropriate proportion.; the completedness of the objects was expressed by the stationary state where overall image is fixed, the construction of homogeneous and complete space, and absolute inevitability of internal layout in proportion; lastly, organic harmony of independent parts was stressed in independent completedness of each detail, and organic harmony of the whole. The expressive features would lead to a unique expression style of linear emphasis, proportion, constructive forms, and two-dimensional arrangement. The meaning of this study is follows: The characteristics of art school of thought are given shape by appling & analysing the architectural layout principles of historical art school of thought to modern fashion in the view point of formal construction dimension. The applied possibility of historical art school of thought as the source of inspiration about the fashion design is extended.

Collaboration among various fields appear according to rising of snack culture, polarizing phenomenon by a point to value, consumer behavior change giving importance to direct experience, and arrival of high touch age satisfied various needs and desires of consumer. Collaboration progressed limited edition form utilizes famous artist and designer’s fame to promote products and upgrade their brand image through a short period agreement. This research aims at analysis about collaboration phenomenon in collaboration manners and characteristics, and understands changed socio-cultural meaning through collaboration expressed in almost all industry for high speedy changing fashion environment. This research utilizes between theoretical study and empirical analysis. For concentrated study, research period limits from 2007 to the present time 2009. This paper's purpose is studying on the socio-cultural meaning through analysis about characteristics of the trend of collaboration expressed in contemporary fashion. This research's results are as follow as; First, common life toward aesthetic surrounding, Second, introduction of high concept, Third, the power of Homo Consmus, Forth, focusing on the intangible elements and the value. This study intends to predict change of fashion design and fashion market for complicated consumer, and present fundamental materials about fashion industry and design development of the future through consideration on concrete aspect and meaning of collaboration expressed in contemporary fashion.

现代汉语里有很多词汇构成同义或近义关系。本文对动词里具有同义或近义关系的词项进行对比分析而找出它在句法和语义上的规律。本文主要从词义․句法的角度做了对比分析，先从“CCL语料库”里找出一些有关“走”和“去”的例句，然后分析其义素并且探讨它在句法上的分布特征。探讨动词“去”和“走”之后，发现“去”属于二价动词，横跨了起点和终点两个领域，主要是指“施事从所处的地点到达终点”，但意义的重点在于“终点”，而“走”主要是指“施事走动或经过某处”，其意义的重点在于“起点”，正好是跟“去”相对的。

The purpose of this study is to research the conspicuous consumption characteristic expressed in the modern fashion. The conspicuous consumptions are classified with 2 parts as follows as: 1. The motive of conspicuous consumption, 2. The effect of conspicuous consumption. And the motive of conspicuous consumption is 1) conspicuous consumption, 2) conformity consumption, 3) compensatory consumption. The effect of conspicuous consumption is 1) veblen effect, 2) bandwagon effect, 3) snob effect. The veblen effect is caused either by the belief that higher price means higher quality, or by the desire for conspicuous consumption to be seen as buying an expensive, prestige item. The bandwagon effect is people tend to follow the crowd without examining the merits of a particular thing. The snob effect refers to the desire to own unusual, expensive or unique goods. The conspicuous consumption has produced conflicting results of the homogeneous imitation and the different scarcity. Consequently conspicuous consumption characteristic expressed in the modern fashion refers to the conformable imitation and the different scarcity. The conformable imitation is pursuit of first lady look and imitation. The different scarcity refers to the desire to own exclusive or unique goods. The unique value is pursuit of limited edition and art mode.

The purpose of this study was to examine the process to manufacture costume design of main female characters of TV historical drama〈Lee San〉and suggest the costume, which is developed with contemporary taste. As study methods, the literature study using books and theses concerning costume, fine art, culture and history were used for theoretical background and the empirical study method manufacturing actual costume on the basis of literature and relic were used for dress manufacture. The study results were as follows. The costume was decided by researching historical investigation material on the basis of synopsis, grasping director's basic intention, setting design direction, preparing design map of each character, selecting style, detail, fabric and color, manufacturing sample and performing camera test. The design concept of〈Lee San〉was Modern & Chic & Clean, short & fitted chogori, chima with wide & abundant cocoon silhouette, clean & bright colors and 100% silk fabric. For the design discrimination of royal semi-formal costume, color was used to symbolize character and pattern was used to symbolize social status. In addition, detail change was adopted depending on the body shape of actor and there was almost no design discrimination in silhouette and fabric. Petticoat of the west, modernization of transitional pattern and change of detail were adopted as design elements to add contemporary taste.

The purpose of this study was to develop royal costume design with contemporary taste depending on the character of hero, Lee San, and time flow of TV historical drama〈Lee San〉and research design discrimination and creative expression. As study methods, the literature study using books and theses concerning costume, fine art, culture and history were used for theoretical background and the empirical study method manufacturing actual costume on the basis of literature and relic were used for dress manufacture. The design concept of costume was modern & chic & clean. The costume was designed through straight silhouette, clean & bright colors excluding prime colors, style transformed to permanent straight pleats on the basis of chulik, 100% silk material focusing on high quality and pattern & decoration of the age of Three Kingdoms. As results, the designs of princess' official rob, day dress and chulik, and emperor's official robe, chulik, military dress and chun-dam-bok were developed. The design discrimination depending on social status change. In the period of princess, black, white, silver and blue were used but in the period of emperor, red, gold and black were used. It was expressed through dragon pattern and extended length used in cloth. The design discrimination depending on character change was visualized through color. Although it is not consistent with historical investigation, contemporary fashion design elements were added to royal costume through color contrast of black & white, permanent straight pleats, velcore, wristlet, extended length and layered-look.

Japanism represents a Japanese sense presented in Collections by many world-class western designers who are inspired by Japanese Kimonos. This study analyzes how the traditional Japanese costumes were applied to the modern clothing and the mix and match style appeared at the Japanism fashion based on the Fashion Collections during the three years from the spring of 2006 to the winter of 2008. The analysis was performed based on preceding studies, literature, fashion magazines such as Vogue, Elle, Marie Claire, and the Collections during the three years. The results of this study on Japanism covers: the application of Kimono design, Kimono sleeves, Kimono neck line to coats, jackets, one-pieces, and blouses; the application of traditional geometrical patterns, flower patterns, and natural patterns. These patterns were presented by print, dyeing, and embroidery; lastly, the employment, utilization, function, and adjustment of Obi(belt) to Japanese style clothing and also to modern clothing. Japanism fashion presented sportism, feminism, and eroticism by using mix and match. This analysis can contribute to the application of the ethnic clothing to modern clothing

This study aims to analyze contemporary women's sense of fashion aesthetic by looking into the design and trend of T-panties, which have now carved out a new niche in the world's 21st century female underwear markets. By this, I'd like to reassure readers of the importance of T-panties, which has only been recently recognized, and more generally suggests the future direction of prominent T-panty design development. First, western urban chic, Japanese minimalism and domestic modern feminine images all have common modern urban sense and simple designs. However, each image is not a simple image in itself. For example, in the case of western style they often seek to convey a sophisticated and stylish street sense, while Koreans add a more cute, lovely, and feminine touch. Second, western restrained eroticism, Japanese fetishism and domestic mono-bosom images all have a common interest in sex. They is something, however, which they all express this differently. In Japan, they prefer a stimulating image. In the West, however, this is restrained by controlling and limiting overt sexual elements, while in Korea, we seek to capture a more simple sensual beauty. Third, western couture luxury, Japanese orientalism and Korean utopia narcissism have classy images in common including splendid materials and decorations with embroidery. They all differ depending on their nationality. This study is baseds on the documents study. This study is baseds on the documents study.

现代汉语的被动句可分为有标志被动句与无标志被动句。其中无标志被 动句与null subject主题句，在形式方面结构非常相似。因此，它们的分类 及分析方法上有很多错误。为了补充形式上的解释，本稿采取认知语言学的 观点来解释被动句的制约条件，进而来区分无标志被动句与null subject主 题句。按词汇概念，被动句的‘相(aspect)’和无标志被动句的事件可分别分析 为下面的意义结构。[[[xACT]CAUSE[BECOME[y<STATE>]]]CAUSE[BECOME[y<AF FECTED>]]] → [[do'[∅<manner>(y)]]CAUSE[BECOME[y<AFFECT ED>]]]。这个结构说明的最大的特征就是被影响论项(而不是受事论项)的存 在。而加上‘相(aspect)’的特征的话，可以表现为[y<RES-STATE=∅[[do' [∅<manner>(y)]]CAUSE[BECOME[y<AFFECTED>]]]>]。如果句子符 合这些制约条件，它可以分确定为无标志被动句。

This study had the purpose that it reveals what suggestions the spirit implied in Dae-sa-rye(大射 禮), Hyang-sa-rye(鄕射禮), and Too-ho(投壺) offers to contemporary sports, examining historical materials of them. For this, matters to research were these: general

The history of art during the first half of the last decade was founded the discussion with highly impressive and confident. The art might establish its unique area based on self recognition at that era. The self-confidence of modern art may be possible on enlightenment, which is the firm relationship for knowledge and reality. However the faith of modernism which shows rational tendency, objective, and the existence of universal knowledge has been drastically doubted and criticized thereafter. A internal ideological system which had leaded the modern art was exhausted. Postmodernism revolved to the dramatic openness leaning against the deoedipalizational confession. According to the dissipation of the vitality of modern art postmodern art has been evolved and then various phenomena which follow the trends has been emerged. The avant-garde and resisteive attribute of modern art was diluted fast due to the influx of popular culture. As time goes it can be attracted by spectacle taste than metaphysical peculiarity. It has to inevitably justified the drift of light and quick themes, contents, and images. Such as these phenomena realistically shows fact that postmodern art had been failed to open a new chapter of consilience which intermediates beauty and usual communication to overcome the solipsism of modernism. A trial to pursuit the opened esthetics conceived more ‘heroic’ ‘Star-Subject’ than before by dismantling the modern ‘Hero-Subject’. Postmodernism has been recorded as a regression of art, which is the technology of profound spirit that mitigates antagonism and confrontation and mediates mutual encountering of human being. Prevailing of postmodern freedom had been accompanied by popularity, osetentation consumption, marketing, gambling level exitement, mixtures of desires with price fluctuations. We witness ‘self-confinement’ and ‘lasting absence of exit’ phenomena in postmodernism ideology and practice. We have to deal postmodernism as an ‘ideology which closes the discussion for the future’ in the context of ‘absence of way’ at this point. We are going to investigate how postmodern ideology and practice takes part in the prospection beyond thereafter through discussion. We also pay attention to the ‘absence of prospection’ as a internal problem in itself nevertheless mention the three merge points such as tradition or memory, earthy thought, the self who confrontation others as the clue of prospecting thought which is allowing coming over postmodern absence.

This study aims to analyze contemporary women's sense of fashion aesthetic by looking into the design and trend of T-panties, which have now carved out a new niche in the world's 21st century female underwear markets. By this, I'd like to reassure readers of the importance of T-panties, which has only been recently recognized, and more generally suggests the future direction of prominent T-panty design development. This study aims to analyze contemporary women's sense of fashion aesthetic by looking into the design and trend of T-panties, which have now carved out a new niche in the world's 21st century female underwear markets. By this, I'd like to reassure readers of the importance of T-panties, which has only been recently recognized, and more generally suggests the future direction of prominent T-panty design development. The domestic formativeness of all styles is divided into three types: modern feminine, mono-bosom, and utopian narcissist image. This study is baseds on the documents study.

The contra-sexual phenomenon that is recently focused is one of the new factors, which is focused when explaining the life style of progressive woman’s image and it is creating cultural category. Moreover, the contra sexual people that are rising as new consuming subjects are not simple primary consumers but their shopping culture and cultural tastes are giving effects to many people. Because of the tendency, marketer of consuming industry are making efforts to predict the changes of contra-sexual people’s shopping habits and tastes. Therefore, it is necessary to grasp contra-sexual phenomenon and research the fashion design aiming at that in order to predict woman’s fashion image in the future. Therefore, the study considered concept and characteristic of contra-sexual phenomenon and surveyed its example in the popular culture. And, the study analyzed the formative characteristic of contra-sexual fashion shown in the public cultures such as drama and movie. On the basis of the result, design was suggested by reflecting contra-sexual fashion characteristic under the concept of ‘Urban Splendor’. From the results above, it was possible to grasp the concept and characteristic of contra-sexual phenomenon, which appeared as a trend and understand new woman’s image and the fashion that has changed because of it. It is considered that the establishment of the foundation of contra-sexual phenomenon, which plays as an important variable in woman’s fashion, fashion accessory, cosmetic and advertisement field but it is hard to clarify, by analyzing the work aiming at contra-sexual phenomenon will be helpful for predicting the change of woman’s fashion in the future.

The past Romanticism, which emphasized loveful, womanish property, has changed into new-concept Romanticism as it was harmonized with various emotional cultures and trends in the 21st century. New-concept romanticism is found in various fields ranging from personality, diversity and discrimination to emotion. It is appearing as a new style searching for taste as it is mixed and matched with other fields. In fashion, Romanticism and mix-and-match trend provide womanish feeling through the match with romantic chiffon, high-waisted pants and cashmere cardigan and show modern emotion through vest and short blazer. Therefore, it is necessary to reconsider the method to analyze and express fashion emotion style on the basis of mix-and-match trend of Romanticism. The purpose of this study is to analyze how Romanticism is expressed in the mix and match with other emotional style, predict direction of Romanticism style and establish the ground to find changing fashion trend accurately. The researcher expects that design development will be focused on the fashion, which is more various and characteristic and search for convenient, healthy life, on the basis of the analysis on mix and match shown in Romanticism fashion of the study. The researcher tried to provide the base of design development and assist design activation by using mix and match, which can create various new styles, accurately and understanding and predicting the fashion trend of the 21st century.

This article attempts to excavate Korean literary works influenced by modern Chinese literature during the Japanese occupation of Korea, based on which it also analyzes the ways in which Korean writers and intellectuals received, perceived and transformed modern Chinese literature. Research findings in this article are to be summarized as follow. Firstly, writers such as Guangsoo Yi and Nanson Choi, who lived during the nascent period of modern Korean literature, approached China in the image of a looser and Japan in the image of an empire. Thus, they completely excluded Chinese literature from the world literature since the Japanese occupation of Korea. This was a dark side of modern Korean literature as a result of Korea’s marginality in the colonial age. Secondly, Baekhwa Yang is generally regarded a first writer that received modern Chinese literature; but most of his works and translations related to China were from Japan since he introduced them to Korea by translating Japanese. Consequently, the perspective that Yang applied in approaching Chinese literature was not his own but Japanese during the colonial age. Although Yang’s contribution to the translation of modern Chinese literature needs to be fairly appreciated, one may not arguably say that he was the first writer who received Chinese literature based on a proper understanding of the trajectory of China’s intellectual history. Thirdly, Dong-gog Yi and Myung Yang are the critics who for the first time accepted Chinese modern literature into Korea on their own perspective. This study has a considerable significance in excavating, introducing and analyzing the large amount of their works. Dong-gog Yi had deep interest in the value and spirit of the Chinese New Cultural Movement, and was the first critic in Korea who accepted the value and spirit of modern Chinese literature in its full measure. Myung Yang was pursued ceaselessly in what direction Korean should lead their lives under the rule of Japanese imperialism, and for the first time accepted and blended Chinese modern theory with Korean reality. This was consequential of their struggles to overcome the dual problem of particularity and universality that Korea confronted during the colonial period. Thus they approached Chinese culture and literature in terms of the world historical conjuncture of decolonization and yearnings for modernity. They did not follow the trajectory of the reception of modernity via Japan as many Korean intellectuals did but groped for a way to receive it via China.

The purpose of this study was to analyze the gender role changes of Korean women reflected on their costumes during 20th century. To analyze the diachronic gender role changes, social environments(education, job, economy, family systems, mass-media) of 20 th century were inquired by 10 years and comparatively analyzed with 680 images of representative costumes each periods. The results are as followed. 1) 1900s～1910s: The most representative women's gender role was a wise mother and good wife. Therefore the adopted western costume, a symbol of civilization, were represented women as a passive and sexual object of man. 2) 1920s～1930s: 'Shin Yeosung (Modern Girl)' was the representative gender role of that time. They were the symbol of enlightenment and new education. Their costumes influenced to the changes of traditional Hanbok in functional side. 3) 1940s～1950s: In World War II. a strong and stubborn women were wanted to support their family. They threw feminity and changed their costumes into an active and functional 'Mombbe'. 4) 1960s～19970s: Women asserted Gender equality and resisted the traditional women's gender role. Mini Skirts and Unisex costumes were symbolic costumes reflecting the changes. 5) 1980s: The self confidence of women's gender role affected the androgynous look and bodyconscious look in modern fashion. 6) 1990s～2000s: Now, the dichotomy of gender role is not no longer effective way to understand the social changes and fashion trend rather than personal characteristics and lifestyle trends.