본 논문은 일제강점기 거국적인 민족운동으로 전개된 3·1운동과 여성독립운동을 세계평화의 시각에 대입하는 데 초점을 두고 있다. 일본 에 의해 국권을 상실했던 시기의 거국적인 민족운동으로 전개된 3.1운 동은 세계사적 관점에서 보면, 평화운동의 일환이었다. 특히 3·1운동은 민중운동으로서 계층과 지역, 성별의 구분을 넘어선 독립운동이었으며, 그 시대 독립운동이 지향한 독립과 자유에 대해 평화적 견지에서 재해석할 필요가 있다. 첫째, 그 시대가 당면했던 독립의 과제는 시대적·민족적 견지에서의 독립이었으며, 평화운동의 일환이었다. 둘째, 3·1운동에 참여한 여성은 주체의지로 독립운동의 참여자, 실천자로 변화했으며, 독립운동사 에서 한 주류로 한국여성독립운동의 맥락을 이어갔다. 셋째, 3·1운동은 국내는 물론 중국, 일본, 러시아, 유럽, 미주 등으로 확산되면서 아시아 약소국이 자유 의지를 발휘하는 데 영향을 주었고, 국내에서는 독립운동의 정신적 저력이 되었다. 이상에서 3·1운동은 세계평화의 관점에서 재인식되어야 하며, 3·1운동과 한국여성독립운동이 평화운동으로 주목받아야 할 것이 다.

The purpose of this study was to examine new-silver women’s fiber and material property preferences and purchasing behaviors. The survey subjects were 115 new-silver women ranging in age from 50 to 60 years old. This study utilized a questionnaire as a measurement tool. The results of this study were as follows: First, the home ownership rate of the participants in this was 81.4%, and 54.9% of them had a bachelor’s degree or higher. Therefore, they turned out to be a new silver generation with higher education and stable income and assets. Second, regarding their purchasing behaviors, it was shown that they purchased the largest amount of clothing for themselves and their spouses, children, and grandchildren at the change of seasons. Third, with regard to their average spending on clothing, when they purchased clothing for themselves, it was shown that they purchased clothing at the price of KRW 500,000 or above for themselves but not for their family members. Fourth, their favorite type of fiber was synthetic fiber, and their favorite material property was heaviness, followed by roughness, stiffness, bulkiness, and glossiness. Moreover, with regard to their favorite functional textile, it was shown that the highest percentage of them preferred vitamin textiles, followed by ocher and scented textiles.

In this study, nine scarf designs expected to be effective for accent design for the fashion style of new senior women were suggested by reflecting purchase behavior and scarf preference after conducting surveys and an analysis by targeting 136 new senior women in order to propose scarf design-matching with the preferences of new seniors. As a result of the study on the scarf purchase features of new seniors, it was revealed that the purchase time for scarves was mainly autumn and winter, even though it is regardless of season, and in spring and summer, they seldom purchased scarves. The purchase frequency was four times a year, and what they first thought of at the time of purchase was represented in the order of color, design, and the material of the scarf. They most preferred department stores, mixed and achromatic colors, cotton and silk fabrics, natural and geometric patterns, and long scarves of a rectangular shape. In the case of the consumer attributes of scarves, it was revealed that 50th desired more individuality-oriented, unique scarf designs than 60th, and 60th desired scarf designs with convenient management considering others’ attention compared with 50th. As concepts for scarf designs, the aspects of individuality, co-existence, and maturity were extracted by reflecting the features of new senior women, and a total of nine scarf designs were suggested by developing three sub-designs for each concept.

A new type of women started to appear in Germany during 1920-1930s and unlike his previous work, Klee began to create works, which related to this new type of modern woman. This paper is a study of Klee’s image of New women in the 1920-1930s, and reflects on Klee’s professional achievements and his perception of these times, based on their social background, which was reflected on the shapes of the ‘New women’ that he portrayed. The labor power shortage that resulted in the aftermath of the First World War provided women with employment opportunities and they were therefore able to actively contribute to the economy. Klee recognized the fact that the female gender role that had been limited to being a wife and mother at home, changed drastically as women participated more in politics and social activities. This was illustrated by the diverse images and activities of contemporary women in the performing arts, and portrayed in magazines, newspapers, and film. The liberation of bodies was expressed through dance or gymnastics and the social atmosphere of the time promoted the performances of modern female dancers. Consequently, there was a significant increase in the number of new women who enjoyed dancing and this led to the production of a large number of dance studios and professional dancers. Klee’s images of dancing women shown in his works at the beginning of the 1920s were formed using mysterious and erotic shapes and vibrant lines. However, towards the end of the decade, expressionistic and dark black lines were more prevalent in his dance related works. Clearly repeating straight lines and curves produced geometric and pictorial structures, which expressed perfectly the dynamic motions of dancing women. The 1920s in particular can be said to have been an innovative period of expressionistic dances, and dancers expressed the inner world of human emotions through free movements. The leaping dancers produced by Klee could also be connected to the gymnastics performed at the Bauhaus. At that time, gymnastics was seen as a link between pop culture and the practice of high class art. Overwhelmingly, many participants in gymnastics were women who embraced pop culture and saw themselves as being popular modern women. During the late 1920s, Klee focused on jumping and shifting shapes while concentrating on the creation of geometric abstraction, which meant that the geometrically simplified shapes lost their concreteness and comprised of crosses of planes. Therefore, the gymnastic rhythms that appeared in Klee’s works emphasized movements based on the geometric body shapes, which were connected to an observance of the participants in physical activities.

The Haenyeos (Jamnyeo or Jamsu)1, who have harvested shellfish, abalone, and seaweed with their original diving skills offshore, and in the deep sea for over 1700 years, have created and accumulated their achievements and challenges along the way. They were generally disregarded and the Haenyeos worked as alienated groups in small island societies. They have dominated their profession because they are more physically suited for it than men. They can dive as deep as 15 to 20 meters and stay under water for around three minutes without the aid of breathing equipment. Politically, they organized voluntary associations, called Jamsuhoi, that decide local village issues through democratic voting and decision-making. Through their power, they were able to maintain a four-month long uprising (January-April 1932) against Japanese Imperialism’s illegal management of marine products of their sea villages. Economically, they were able to support their households and educate their family members through income gained by selling products to markets. It was evaluated that they greatly contributed to improving the prosperity of villages and the island economy as a whole. Since 1895, the Haenyeos regularly went abroad seasonally, to earn money at sea in such regions as China, Japan and the Korean peninsula. Their migration and settlements, especially on the Korean peninsula and Japan, are highly accepted for their special skills, and the higher economic value of the products they catch in those areas. It is possibly explained by the economic gap between Jeju Island, Korea, and Japan under the influenceof Japanese capitalism. Culturally they also created and developed their folklore, traditional rituals, and festivals that commemorate their hard work and wandering, Gypsy-like life in the deep sea; a little different from the mode of Korean p’ansori music. The Haenyeos also have a gender component that contributed to developing the potentials of Jeju Island family value system as an integrated family model upon the combination of big and nexus family systems in their home. Through these discussions, this paper argues the Jeju Haenyeos serve as an example of equitable gender roles in small island societies, different from or beyond the scope of traditional Korean Confucian stereotypes.

The purpose of this study is to suggest a designing method with excellent body suitability by analyzing clothingwearing porosity, comparing and analyzing patterns, and evaluating outer appearances by designing a prototype of study applied with design measurements for categories that have influence on the outer appearance of clothing through diverse research methods, by comparing and analyzing bunka and new bunka style basic pattern, which are proportional basic patterns most frequently used in schools for educational use to design bodice pattern for elderly women in their late 60s. As for the process of this study, the first stage selected study subjects, measured bodies. The second stage compared patterns of bunka and new bunka style basic pattern and evaluated outer appearances that deduced important pattern designing categories to design upper-torso bodice pattern of elderly women. The results of this study are as following ; As a result of comparing and analyzing bunka and new bunka style basic pattern, overall evaluation of outer appearance was excellent for new bunka style basic pattern, and bunka basic pattern received better reviews for the width and depth of front neck. In terms of waist circumference, waist front length, bust point location and bust point-bust point, bunka and new bunka style basic patterns showed a significant difference. new bunka style basic pattern had 4.5cm larger front armhole depth than bunka basic pattern, so it was evaluated to have more appropriate front armhole length, bust point location, and bust point-bust point. Through observation for primary excellent categories and precedent studies, 7 categories of front neck width, front neck depth, front interscye, back neck width, back neck depth, back interscye, and back armhole depth were deduced to have relations to the extra room around arm holes and waist that affect pattern designing method and porosity and evaluations of outer appearance.

본 연구는 신 중년여성을 연구대상으로 대중매체를 통해서 지각된 외모에 대한 사회문화적 태 도가 개인의 신체이미지와 외모관리행동에 미치는 영향을 분석하였다. 본 연구는 서울 경기에 거주하는 40-50대 중년여성을 대상으로 총168부의 설문지를 분석자료로 사용하였고, 빈도분 석과 요인분석, 다중회귀분석을 이용하였다. 연구결과를 보면 첫째, 외모에 대한 사회문화적 태 도에 대한 요인분석결과 일반적 내재화, 압력, 정보의 3가지 요인으로 분류되었으며, 신체이미 지에 대한 요인분석결과 외모지향, 외모평가, 신체만족도의 3가지 요인이 도출되었고, 외모관리 행동에 대한 요인분석결과는 의복관리, 피부 관리, 체형관리의 3가지 요인으로 분류되었다. 둘째, 외모에 대한 사회문화적 태도가 신체이미지에 미치는 영향을 살펴본 결과 외모지향, 외모 평가, 신체만족도 모두 유의미한 영향을 미치는 것으로 나타났다. 셋째, 외모에 대한 사회문화적 태도가 중년여성들의 외모관리행동에 미치는 영향을 분석한 결 과 의복관리와 체형관리 요인에 유의적인 영향을 미치는 것으로 나타났다.