• Journal of KIISE:Software and Applications
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• v.36 no.7
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• pp.531-538
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• 2009

Domestic software market is struggling with product's low quality and low return-on-investment. The cause for the problems is due to unclear requirements at the early stage of software project. Studies show that, to lessen the problem, the requirements specification must reflect the right project scope and quantifiable quality goal. To achieve such features, this paper describes a standard guideline for SRS (Software Requirements Specification), which helps in defining the scope of project, measuring and quantifying quality, linking and tracing of requirements, and improving usability. The proposed SRS enables separating the requirements analysis activity from implementation activity and thus can improve subcontract management process in software project.

• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.8 s.145
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• pp.1146-1157
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• 2005

As individual family has fewer children, market sectors targeting children's goods upgrade their products quality and price. Children's wear used to be for casual activity or going to school. Recently, occasions in which children are dressed up are getting increase, such as wedding, concert or family gathering. Therefore, the industry sector of formal wears for school boys are growing. The purpose of this study is to research and grading of formal wears for school boys to improve their fit and comfort. The selected items as formal wear were tailored jacket, tuxedo, tail coat and pants. Based on the grading increments of the industry, grading was done far 7 years and 11 years old school boy for each item. Like the pattern alteration, grading increments were tested and altered through wearing tests. The final increments were suggested as the 'researched grading increments'. The results and conclusions are: 1. Appropriate size allowance, ease amount and lengths for boys are different from those far adults. The difference should be applied for boy's wear. 2. Grading increments for an age group are different from other age group. For example increments of 7 from 9 are different from that of 11 from 9. It is because a certain part grows faster during a certain age whereas other part grows faster during different period. Therefore grading for children should reflect their growth rather than same size increments which is common in adult size chart.

• Korean Journal of Human Ecology
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• v.5 no.1
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• pp.14-27
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• 2002

The purpose of this study is to identify the ritual dress used by the 12 religious bodies of Dankun followers to help understand the teachings of these currently operating religious groups in Korea. The findings from the survey and related literatures are used to analyze the characteristics of these ritual dresses in terms of their items, construction, form, and color. The results of the study are as follows: first, most of the religious groups of Dankun followers have established the code for ritual dresses and they are named as 'chaebok'(제복, sacrificial robes), 'yebok'(예복, ceremonial dress), 'chungbok'(정복, formal attire), 'pubbok'(법복, Buddhist formal dress), or 'tobok'(도복, Taoist garments). The official headgear is usually named as 'chaemo'(제모), 'soogun'(수건), 'moja'(모자), or 'yoogun'(유건, 儒巾). Though, there are some groups which do not use any specific names for headgear. Second, the ritual dresses of most groups are composed of the 'hanbok'(한복,韓服) or usual Western-style dress, a traditional outer wear, 'po'(포,袍), and a headgear, as a basic attire. Third, the traditional 'hanbok' is worn as a base garment and an outer wear is worn above. The different types of outer wear are used: mostly 'chaksu jueui jikyoun po'(착수주의직령포, 窄袖周衣直領袍) for men and 'kwangsu jikyoung po'(광수직령포, 廣袖直領袍) and other various styles for women. The headgear from the ancient times are worn by both men and women. Fourth, the most frequently-used color for ritual dress is white for both men and women's dress. The colors from the Yin and Yang ideology are also used in the ritual dresses. Finally, the kinds of materials are not considered as an important element for the ritual dresses.

• The Journal of Natural Sciences
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• v.10 no.1
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• pp.123-131
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• 1998

This research was investigated the improved changes of Korean traditional costume after introducing the western costumes in this society. For this study microfilms of Chosun llbo, the popular newspaper since 1920s, and costume magazines for 1950s and 1960s were examined. The periods of the improved changing of Korean traditional costume were divided by the characteristics of qualitative and quantitative changes. Those were two, such as passive period and active period of change. At passive period, the change was not far from the original from of traditional costume and it was limited to the waist of skirt, length and width. But at active period, there was distinctive change from the previous period. Active period is divided by 2 sub-period again. In 1950s, the concept of darts of western costume was accepted to Korean costume and there was the western clothing for everyday costume, the characteristics of Korean costume were added to the base of the western clothing. It was named 'Arirang dress'. Original Korean costume had worn for special occasions since late 1950s.

• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.142-163
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• 2020

In the early Joseon dynasty, the meritorious vassals' portrait of Jeokgae (1467, 1476), Jeongguk (1506)·Jeongnan (1507), and Wisa (1545) were defined as the 2^nd period of the official uniform, in which the acheongsaek HeukDanryung appeared and settled. A total of seven portraits were analyzed, including three portraits of Jeokgae (1467, portrait production 1476) Son-so, Oh Jachi, and Jang Malson, and four portraits of Jeongguk (1506)·Jeongnan (1507) Yoo Sunjung, Hong Gyeongju, Lee Woo, and Yoo Hong. In the portrait of the Jeokgae wearing a Yebok HeukDanryung, in the case of the Samo, the height of the Samo, which had been raised at the beginning of King Seongjong, was lowered again, and the parietal part was rounded. The pattern was not expressed on the wide oval side wings of the Samo. In addition, the pattern was not expressed on the acheongsaek Danryung, Dapho, and Cheolrik. The colors of Dapho and Cheolrik were unified in green and red, respectively. The Mu of Danryung and Dapho was expressed as 'in and out wrinkled Mu', and the shoes were expressed in Baekhwa. Another feature is that the Jeokgae's portrait is expressed not as the Pumgye at the time of appointment, but as the Pumgye of the portrait production time. In the portrait of the Jeongguk·Jeongnan wearing a Sibok HeukDanryung, the height of the Samo lowered from the Jeokgae was maintained, while the parietal part was slightly narrowed and bent forward. The side wings of the Samo were expressed as an oval with a uniform width, and still the pattern was not expressed on the side wings. The pattern was not expressed in the costume of the Danghagwan's portrait, but the cloud pattern began to be expressed in the costume of the Dangsanggwan's portrait. And the Danryung was expressed as single Danryung without lining. In the portrait of Dangsang, the red Dapho and green Cheolrik were expressed, and in the portrait of Dangha, the green Dapho and blue Cheolrik were expressed. Therefore, it was found that the color of the undergarment was distinguished according to the Dangsang and Dangha. In Danryung and Dapho, the 'in and out wrinkled Mu' were maintained. The shoes were expressed in Heukhwa, and the rank badge and rank belt reflect the Pumgye at the time of the appointment. On the other hand, the portrait of Wisa could not be confirmed, but through the recording painting of the reign of King Meongjong, it was found that it was similar to the Danryung system of the reign of King Jungjong. Through the 2^nd period of the meritorious vassal's portrait of Jeokgae, it was confirmed that the HeukDanryung outfit began to be used as the official uniform of the meritorious vassal's portrait, and that the Pumgye of the portrait production time was reflected in the portrait. After the meritorious vassal's portrait of Jeongguk, the pattern began to be expressed in the costumes, and in particular, it was possible to distinguish Dasang and Dangha by the presence or absence of the HeukDanryung's pattern. In addition, it was confirmed that the expressed aspect of the official uniform was consistent with the practices and regulations at the time.

• Korean Journal of Heritage: History & Science
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• v.54 no.3
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• pp.52-67
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• 2021

This study is an attempt to explore the roles of and the collaborative relationship between Daheojang and Maedeupjang. Daheojang and Maedeupjang share a similar manufacturing process. However, in modern times, Daheojang totally disappeared, and Maedeupjang was designated as an intangible cultural property. The present study will investigate the role of Daheojang and Maedeupjang based on the literature of the Joseon dynasty. Daheojang were craftsmen who made bands and strings of woven or twisted silk strands. They made mangsu and tassels or made knots to produce magnificent artifacts. Maedeupjang complete all steps of the process, from refining, dyeing, combining threads, daheo, maedeup, to the tassel. Daheojang in the Joseon dynasty was the center of this process. Daheojang belonged to almost all Uigwe because it used items ranging from large uso to cushion straps. Dahoe is a craft with various items and techniques. It has been widely used to produce majestic items like formal dresses, ritual ceremony pieces, and mountings, as well as daily items like jodae, pocket straps, and norigae. Based on the records of Uigwe in the late Joseon dynasty, the study explored the collaborative relationship between Daheojang and Maedeupjang. Sambang, the room where both Daheojang and Maedeupjang belong, was the room to produce the royal chair. The royal chair essentially includes large uso. The large uso is an artifact that ties a knot in a thick circle more than two meters long. While Daheojang made rounded daheo, Maedeupjang made delicate and balanced knots. Also, they produced royal inscriptions together with a royal seal with decorative mangsu and a seal of thick rounded daheo. In order to learn about traditional technology, it is necessary to study the system of the times and social trends. Therefore, the study focused on Daheojang, who were common master craftsmen during the Joseon dynasty but now are not familiar to most people.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.43-54
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• 2019

This study has purpose in analyzing the characteristics of small weddings reported in the internet news, and suggesting the plan to activate it. The materials are about 248 internet news from 2012 to 2018, and frequency analysis and chi-square test were conducted for it. The research result is like the following. 1. It was reported that the saving type was higher in 2016 and the money gift improving type was higher rate in 2015. 2. As a venue for wedding, it was reported the saving type and free type choose the public institution, the small size type hotels, the peculiar type outdoor and house, money gift improving type hotel and public institutions. 3. The saving type, peculiar type and free type were likely to be reported as information transfer, and the small size type and the money gift improving type were likely to be reported to suggest the case of small weddings. 4. Case type showed high rate for public institutions and hotels for small weddings, and information type showed high rate for public institution for small wedding venue. 5. Case type and information type showed favorable rate for small wedding, and opinion type appeared similar favorable rate and unfavorable rate for small weddings. 6. Ordinary people showed high rate to be reported with saving type, celebrities were with small size type. And also the ordinary people showed high rate public institutions, celebrities with hotel as small wedding venue. 7. The items to save the cost in small wedding included more of venue renting cost, reception cost, wreath/decoration cost, photo filming cost than marriage expenses and wedding gifts, house.

• Korean Journal of Heritage: History & Science
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• v.53 no.2
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• pp.180-203
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• 2020

In this study, the period before the Gwanbok of meritorious vassals' portraits was expressed in the acheongsaek-Heuk-Danryung was defined as the first period, and the costumes worn in portraits of meritorious vassals from Gaeguk (1392) in the early Joseon Dynasty to Jwali (1471) during the era of King Seongjong were reviewed. The portraits(1476) of Jeokgae meritorious vassals (1467) depicted as the Gwanbok of acheongsaek Heuk-Danryung were excluded. Among the copies that are currently considered to be portraits of meritorious vassals belonging to the first period, the portraits of Lee-je, Lee Cheon-woo, Ma Cheon-mok, Shin Suk-ju, Seol Gye-jo, and Lee Sung-won were selected, and the formative characteristics of Gwanbok components were examined. The Samo of Sam-Gongsin in the early Joseon Dynasty had a low height, a rounded end, and the side wings were narrow and short. However, since King Danjong, Jeongnan·Jwali meritorious vassals retained a higher form, and the side wings were twice as long. It was also confirmed that the pattern was not expressed in the side wings. The Danryung was expressed in light-colored Danryung without specific colors at the beginning of the country. After King Sejong, the Heuk-Danryung system for Yebok began, but it was not reflected in the Gwanbok of meritorious vassals' portraits, and was expressed as damhongsaek-Danryung after King Danjong. The pattern was not expressed on the exterior of the Danryung, and inner-wrinkled Mu was expressed on the side line. The Dapho and Cheolrik, the undergarments of the Danryung, were also confirmed as being blue (the Dapho) and green (the Cheolrik) after the Jeongnan meritorious vassals. The early Sam-Gongsin's Pumgye was expressed by rank belt, but as the system of rank badge was established after King Danjong, it began to express the Pumgye by rank badge and rank belt. Among the portraits of meritorious vassals, the rank badge was expressed only in the portrait of Sin Suk-ju, a Jeongnan meritorious vassal. As Hwaja worn on the Danryung, Heuk-hwa were confirmed in the Sam-Gongsin portraits of the early Joseon Dynasty. However, in the portraits of Jeongnan and Jwali meritorious vassals after King Danjong, the Baek-hwa was confirmed. In addition, in the seam parts of the Heuk-hwa and Baek-hwa identified in some portraits of meritorious vassals, Hwi decorated with yeongeumsa were identified, and it was found that the Hwaja decorated with Hwi were the Hyeopgeum-hwa worn by the 3rd rank and above.

• Korean Journal of Heritage: History & Science
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• v.54 no.3
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• pp.68-89
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• 2021

In August 1837, a list of wedding gifts was given by Queen Sunwon (1789-1857) to her son-in-law, Namnyeong-wie, Yun Eui-Seon (1823-1887) at the wedding of Princess Deok-on (1822-1844). This Honsubalgi is now kept at the National Hangeul Museum. This text was used in the present study to examine the everyday clothes of the royal son-in-law in the early 19th century. First, the everyday clothes were organized into about 36 types. They were classified as tops, bottoms, hats, accessories, belts, pouches, fans and shoes. Second, the most important clothes were the ordinary formal attire, composed of the namgwangsa dopo and namgwangcho changui. As for the bottoms, the pants, the Chinese hemp leggings, two pairs of socks, the green silk belt, and a pair of light blue ankle ties were identified. Third, as for the head and accessories, there were heukrip, with the gemstone string and silk string, the jeong-ja-gwan and dong-pa-gwan, as well as tang-geon and bok-geon. And there were the sangtu-gwan, three types of donggos, and the mang-geon equipped with okgwanja. On the other hand, the jeong-ja-gwan and dong-pa-gwan are peculiar hats whose status has changed over time since the mid-18th century. The fact that the jeong-ja-gwan and dong-pa-gwan were given to Namnyeong-wie showed that the status of these hats improved in the early reign of King Heonjong. The belt was given with the sejodae that is suitable for the dangsang, the coral plates, and the silk bag containing a flint pouch. Fourth, there were the red-colored sejodae, a ssamji silk pouch for flint and the fan decorated with okseonchu, and shoes, such as unhye and danghye.

• Journal of Popular Narrative
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• v.25 no.2
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• pp.117-167
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• 2019

The aim of this article is to illuminate the Park Yeol(朴烈)·Kaneko Humiko(金子文子) Case from the perspective of performance, by analyzing newspapers published in Colonial Korea. The Park Yeol·Kaneko Humiko Case include the High Treason Incident(大逆事件) case and the mysterious photo(怪寫眞) case that occurred in Tokyo in Imperial Japan from 1923 to 1926. Even though Park Yeol·Kaneko Humiko were individually imprisoned during this period, they proceeded to act shrewdly and preposterously as performers. First, they made the trial itself into an astonishing case by donning traditional Korean clothes and insisting on using the Korean language in Japanese Imperial Court. Second, they caused the judge in charge to accidentally take the so-called 'mysterious photo,' which later led to the collapse of the Japanese cabinet. The newspapers published in Colonial Korea served as unique stage on which Park Yeol and Kaneko Humiko performed. The newspaper articles reported on the public trials as if it were a drama, describing their clothes, look, and dialogue in public court. The news about them was published not as it occurred but in a plotted sequence because of a press ban, consequentially building suspense among readers. Meanwhile, the Korean newspaper editorials pointed out the injustice of the High Treason Incident, breaking down the Japanese judge's opinion. The Park Yeol·Kaneko Humiko Case was a social drama that revealed the disharmony that led to the breakdown of Taisho Democracy and imprinting national resistance in Japan as well as in Korea.