• The Research Journal of the Costume Culture
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• v.14 no.2
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• pp.247-259
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• 2006

This studies on images of black dress was based on reference to literatures and valid investigations. The images toward black clothing are categorized by study participants' perceptions according to sex, age, marital status, education, and residential area. The result was as followed. Terminologies used to describe images of black apparel were collected and studied. They are assorted as dignity, feminine, modern, sexy, abstinence and sorrow. The result based on sex shows that females perceive more on images of feminine, dignity and modern, but perceive less on images of abstinence compare to male participants' response. The result based on age shows that with increase in age, participants perceive more on images of abstinence, sexy and sorrow. The result based on marital status shows that singles perceive more on images of modern, but perceive less on images of abstinence and sexy compare to married participants' response. The result based on education shows that with higher degree of education, participants perceive more on images of dignity , modern and abstinence. The result based on residential area shows that participants from bigger cities such as Seoul and Kyung-Ki Do perceived more on images of dignity and modern.

• Science of Emotion and Sensibility
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• v.13 no.2
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• pp.337-346
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• 2010

The purposes of this research were to evaluate the color sensibility and preferences, and to analyze the effect of the tactile preferences and purchasing preference on structural properties, color characteristics and color sensibility for the black color fabrics. Male and female university students were asked to evaluate the color sensibility, tactile preference and purchasing preference to the nine different black fabrics which were selected on the basis of the previous research results. Data were analyzed by using frequency analysis, mean, factor analysis, t-test, Kruskal-Wallis test, correlation and regression analysis. The color sensibility for black color fabrics was classified into four factors: simplicity/classic, elegance, modernity and dignity. This color sensibility factors showed a significant correlative relationship to the structural properties and color characteristics of black color fabrics. On the other hand, fabrics which were evaluated with good tactile preference among the black color fabrics tended to show higher purchasing preference. Also, among the color sensibility, the structural properties and color characteristics of black color fabrics, major variable factor of influencing on the tactile preference and the purchasing preference was turned out to be the color sensibility.

• Journal of the Korea Fashion and Costume Design Association
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• v.9 no.2
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• pp.1-13
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• 2007

Black has played a more important role in the history of fashion than other colors. In general, black was regarded as a color of negative images. However, as people have recognized the aesthetic value of black color, they have expressed unique and various images of black through the medium of clothes. This study was based on both theory research and actual survey, where survey sheets were distributed to collect data. For data analysis, SPSS 10.0, a statistics software, was used, and frequency, pecentage, t-test, ANOVA test, and Duncan test were adopted and analyzed. The survey was conducted on 608 men over 20 in Seoul, Gyeonggi Province, Gangwon Province, and other areas for two months from May 20, 2005 to July 25, 2005. The analysis showed the following results. First, Dignity was the mostly cited image of black color among men followed by modernity, sorrow, feminineness, abstinence, and sensuality. Second, Men showed different responses according to their age. In sum, men more strongly recognize abstinence and sensuality in black dress as they become older. Marital status significantly affected men's recognition of black dress in terms of abstinence and sensuality. Abstinence was more strongly recognized by married men than single men. In addition, married men pointed out sensuality of black dress more frequently than single men. In short, married men tended to recognize abstinence and sensuality more easily than single men. Education level clearly affected men's recognition of dignity, modernity, and abstinence in black dress. In sum, as men got higher education, they tended to increasingly recognize dignity and modernity in black dress. In conclusion, this study has proved that black dress has unique aesthetic values and reflects various images according to age, marital status, education level.

• The Research Journal of the Costume Culture
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• v.15 no.1 s.66
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• pp.113-126
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• 2007

Since the ancient times, black has been the most valuable color. Also, it has played a more important role in a history of fashion than other colors. In general, black was regarded as a color of negative images. However, as people have recognized the aesthetic value of black color, they have expressed unique and various images of black through the medium of clothes. This studies on images of black dress for woman was based on reference to literatures and valid investigations. The images toward black clothing are categorized by study participants' perceptions according to age, marital status and education. The result was as followed. Dignity and modernity were the most frequently cited image of black dress among women followed by feminine, sorrow, sensuality, and abstinence. Age significantly affected the recognition of black dress images. Woman showed significant difference in recognizing dignity, modernity, sensuality, and sorrow in black dress according to their age. Woman more strongly recognize dignity and modernity in black dress when they are younger, while increasingly recognizing abstinence and sensuality in black dress as they become older. Marital status significantly affected woman's recognition of black dress. They showed meaningful difference in recognizing dignity, modernity, and abstinence in black color. In sum, single women recognized more easily dignity and modernity in black dress and less easily abstinence than married women. Women also showed the trend with relation to education level. In general, as women got higher education, they also increasingly recognized dignity and modernity in black dress.

• Proceedings of the Korea Society of Costume Conference
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• 2001.04a
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• pp.41-41
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• 2001

본 연구는 1990년대 밀리터리 패션에서 성적 이미 지의 표현양상을 살펴보고 각각의 미적 특성과 형성 요인을 분석하여 현대 여성의 다양한 미적 가치와 미의식을 이해하고자 한다. 1, 2차 세계대전을 계기로 자연스럽게 등장한 밀 리터리 패션은 20세기 초반에 여성의 사회참여와 지 위 향상으로 인해 실용성과 기능성을 추구하였고 중 반에 들어서면서 히피와 젊은 세대들에 의해 반전운 동의 일환으로 입혀져 안티패션의 의미를 내포하게 되었으며 후반에는 포스트모더 니즘으로 인해 다양성 을 추구하는 복고풍의 패션 트랜드로서 각종 컬혜션 에서 부각되었다. 그 결과 밀리터리 패션은 기존의 남성적 이미지뿐만 아니라 여성적 이미지도 표현하 게 되었다. 이러한 밀리터리 패션에 나타난 성적 이 미지는 권위적 이미지와 공격적 이미지의 남성적 이 미지와 보수적 이미지와 과시적 이미지, 관능적 이미 지의 여성적 이미지로 표현되어 나타났다. 남성적 이미지는 자유주의 페미니즘과 관련하여 남성 중심적 사고 방식에 도전하고자 하는 여성들의 자아의식이 한층 강하게 작용한 일종의 반 패션 현 상으로 권위적 이미지와 공격적 이미지로 특정지을 수 있다. 첫째, 권위적 이미지는 주로 고전적 군복과 제복의 이미지를 차용해 군복이 가지는 권위와 위엄을 표출 하였으며 남성 우월주의에 기초한 영웅주의를 가시 적으로 표현하였다. 이는 떳떳하게 자신의 위치를 세 우고자 하는 여성들의 욕구를 대변하였으며 영웅주 의와 가부장제도가 그 형성요인으로 작용하였다. 둘째, 공격적 이미지는 권위적 이미지에 대한 저 항과 기존의 성 정체성에 대한 저항으로써 전위적인 형태와 해체적인 표현으로 본래의 위엄있는 군복의 이미지를 무너뜨려 남성다웅의 표면적인 메시지를 약화시키고자 하였으며 반체제 정신, 성 정체성에 대 한 저항, 해체주의가 그 형성요인으로 작용하였다. 여성적 이미지는 급진주의 페미니즘과 관련하여 여성 본래의 성을 부각시키고 여성이 주체가 된 여 성중심적 사고로 여성의 감성적 심리를 패션을 통해 표현하고자 하였으며 보수적 이미지, 과시적 이미지, 관능적 이미지로 특징 지을 수 있다. 첫째, 보수적 이미지는 남성적 영역이라고 믿어왔 던 군복에 여성성을 강조하여 가늘고 유연한 실루엣 과 곡선적인 라인, 색채. 심플한 디테일만으로 밀리 터리 패션을 표현하여 남성중심의 이데올로기에서 벗어나 여성도 사회의 중심이 될 수 있음을 시사하 였으며 남성 권위의 추락이 그 형성요인으로 작용하 였다. 둘째, 과시적 이미지는 전통적 군복이 과거의 상 류층 엘리트들만의 아이템이었듯이 현대의 여성들은 신분과 매력의 과시를 표현하고자 금속 단추나 벨트 등 기타장식을 부각시킨 밀리터리 패션을 착용하였 으며 엘리트층에 대한 동경이 그 형성요인으로 작용하였다. 셋째, 관능적 이미지는 신체의 간접적인 노출과 직접적인 노출을 통해 여성의 신체에 의한 에로틱한 관능미를 부여하고자 하였으며 나르시시즘과 보이고 자 하는 욕구, 성적 유희가 그 형성요인으로 작용하였다. 그러므로 밀리터리 패션에 나타난 성적 이미지에 관한 연구는 패션을 통해 자아를 표현하고 미적으로 자기완성의 방편을 삼으려고 한 현대 여성들의 가치 관과 미의식을 이해하며 이를 충족시키고자 하는 패 션 트랜드와 디자인 개발에 도움이 될 것이다.

• Economic and Environmental Geology
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• v.54 no.1
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• pp.137-150
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• 2021

The rock-carved standing Buddha triad in Seoak-dong is a large stone Buddha statue of the Unified Silla era (AD 676 to 935) in ancient Korea, built near the top of the southeastern side of mountain Seondosan in Gyeongju, is characterized by its locational importance, the powerful Amitabha and the gentle sculptural technique of the Bodhisattva. In particular, Amitabha Buddha in andesite rock slope with biotite granite pedestal and two Bodhisattva parallel made by alkali granites seems to express the dignity through the color and texture of the stones. In the Amitabha Buddha, deterioration characteristics are accelerating due to the combination of various joint systems, instability of the slopes and relaxation by the root pressure of plants occurring at the top. In addition, physical properties have deteriorated owing to the increase of discontinuous surfaces as joints, cracks and scalings, and the coverage of algae and lichen is also high. Therefore, deterioration degree in Buddha triad is accelerated due to the physical weathering characteristics from natural rock mass and various biological invasion.

• The Journal of the Korea Contents Association
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• v.16 no.12
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• pp.233-243
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• 2016

The movie offers a chance to observe the social signifier and the sensitivity of audiences who feel sympathy with the tragic history of crown prince Sado. While watching the movie, the audience halts between ideas whether to go back to "primary ego", or to play the unconscious hypocrisy or the ingrained social behavior which is to resolve the internal conflicts while they face two contrary opinions; one is the obedient subject to obey fatherness, as a symbol of historic value and convention in a society, and the other is the resistant body to break the bond of convention. The audience may feel some ambivalent feelings of the moral values between the paternal authority and the existential philosophical value of 'self'. This study will observe the audience's response of Sado toward the moral norms of the society when they face the signifier of father in the movie with experience the conflict between their resistant ego and madness. Also the study will discuss that the social landscape such as norms, order, and legal system is ever-changing and open to be subverted by the future even though audience hope that the present moral value with which we are content ever-last.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.292-307
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• 2019

Buddhists have always tended to adorn and embellish Buddhist statues and their surrounding spaces in order to exhibit the grandeur and sublime nature of the Buddha. The various kinds of splendid instruments and implements used in such ornamentation are collectively called jangeomgu in Korean. Thus, the term jangeomgu encompasses articles used to decorate Buddhist statues, halos, and baldachin, as well as Buddhist banners and wind chimes, which are generally hung outside a building. Wind chimes are still widely used at Buddhist temples. In China, judging from various structures such as the Wooden Stupa of Yongningsi in Luoyang and the Dunhuang Caves, wind chimes began to be used around the sixth century. As for Korea, Buddhism was first introduced from China during the Three Kingdoms Period, and Koreans accordingly began to build Buddhist temples and buildings. It would appear that wind chimes came to be used around the time that the first temples were built. The oldest extant wind chime in Korea is the gilt-bronze wind chime of Baekje, discovered at the Mireuksa Temple Site in Iksan. In general, Korean wind chimes dating from the Three Kingdoms Period are classified into two general types according to their shape and elevation, i.e., those shaped like a Buddhist bell and those shaped like a trapezoid. As these two forms of wind chimes have influenced each other over time, those made during the Goryeo dynasty, having inherited the style, structure, and design of the preceding period, display such features. At the same time, the artisans who produced wind chimes pursued technical development and adopted free, yet not extravagant, designs. In particular, Goryeo wind chimes are characterized by original designs created through exchanges with other Buddhist art forms of the same period, such as the embossed lotus design band of Goryeo bells; the bullmun design, which served to display the grandeur of the royal family; the samhwanmun design, which consisted of decorating the interior of a Goryeo incense burner with three holes; Sanskrit designs; and designs inspired by the windows and doors of stone pagodas. In this way, the production of Goryeo wind chimes developed with a focus on purpose while being free of formal constraints. This study started out from the fact that the largest number of Korean wind chimes were produced during the Goryeo dynasty. Therefore, research on wind chimes should be based on those of the Goryeo dynasty, especially since fewer relevant studies have been conducted compared to studies on other forms of Buddhist art. For the purposes of this study, the reasons for the production of wind chimes will be examined first, followed by an examination of the various styles of Korean wind chimes. Then, based on the findings of this investigation, the development and characteristics of the wind chimes produced during the Goryeo dynasty will be explored for each period.

• Journal of Korean Academy of Nursing
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• v.6 no.1
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• pp.80-90
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• 1976

정신과 영역의 환자를 위해 간호원의 역활을 필요로 한 이래 여러 가지 간호의 개념으로 간호원의 역할이 변화되어오고 있다. 정신과 환자의 안전만이 가장 큰 치료의 중심일 때는 병동열쇠의 위엄에 곁따라 보호관리에만 치중해 왔으며 정신의학에서 약물요법, 전기요법의 치료과정이 생기면서 간호원의 역할 변화 및 지식의 요구를 필요로 하게 되었으며, 환경과 개인의 밀접한 관계를 중시해오면서 치료적 환경속으로 환자의 인간적 치료가 강조되었을 때 의사소통과 대인관계의 인적 환경으로써 또한 간호원의 역활이 중요시 되어왔다. 이런 관점에서 치료적 환경에 대한 정확한 이해는 간호행위과정의 불완전을 제거하며 보다 활발한 정신과 환자간호에 기여하는 일 일 것이다. DR. Bartom은 병실 환경이 비생산적이고 비 치료적일때 성격의 변화는 물론 행동적 특성의 변화까지 가져올 수 있다고 말했다. 즉 무감동적이고, 무조건적 순종이 있으며 솔선하여 행하는 행위가 줄고 장래 계획에 대한 자극이 줄어들고 될대로 되어 가는 상태 그 자체에 머물러 있어 인간의 특징적 의미와 가치를 상실하게 된다는 것이다. 정신과 병실은 잠정적 체류지로 보아야 하겠고 이 체류지에서의 영향이 환자에게 보다 유익하게 끼칠려면 간호원이 지속적으로 치료적 분위기를 유지해야 할 것이다. 치료적 입장으로서의 간호의 활동 초점은 대인관계에서 환자의 의식수준과 자아관련 수준에서의 취급이 무의식 수준에서의 탐구조사보다 바람직하다. 치료적 가치로써 치료적 환경의 이론적 근거를 DR. Sullivan 은 인간의 상호관련 문제에 두고 있다. 즉 상호작용이 존재하는 환경은 어떠한 곳이든 성격에 영향이 있고 이 성격은 대인관계의 복잡성으로부터 결코 떨어질 수 없다는 얘기다. 자아구성 또한 환경의 영향을 받는데 Cumming은 병동환경과 자아구성 재동기간에 밀접성을 시사한바 있다. Visher와 O'sullivan은 정신과적 치료중에서 일상생활에서 경험되어지는 의사소통과 대인관계속에서 학습되어지는 여러 가지가 있기 때문에 매일의 활동획이 치료적 방향으로 계획되어 져야 한다고 말했다. Maxwell Jones 또한 치료적 환경의 유용한 가동은 전 직원의 기여에 있으며 이는 정신건강을 최적으로 올려 줄 것이다. 라고 말했다. 이러한 상황에서 간호원은 의미 없이 환자의 감정 욕구를 깨닫지 못하고 감정지지를 주지 못하며 정서적 긴장을 예방하지 못한 체 환자와의 관계를 유지한다면 현대간호의 개념에서 이탈되어지고 발달되어지지 못한 미숙아 현상이 유지 될 것이다. 보다 바람직한 치료적 환경 유지는 간호로써 환자에게 기여해 주는 일이다. 간호의 역활과 더불어 전문적 태도는 따뜻하고 포용성 있게 그리고 융통성 있게 대함은 물론 간호인 자신의 "자기이용"을 깊이 그리고 치료적으로 이용할 것을 깨달아야 할 것이다. 즉 정신과 병실에서의 간호원 존재 자제가 환자에게 미치는 영향도 고려해야 한다는 것이다. 덧붙여 환자를 위한 일주일 병동 행사표를 Model로 제시하였고 그 안에서의 간호원의 역활을 약술하였다.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.223-261
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• 2019

This article is a reexamination of the feminist criminal narrative I wish for what is forbidden by Yang Gui-ja in the context of the rise of the women's movement and consumer culture of the middle class in Gangnam in the 1980s and 1990s. At this time, the explosive media culture served to strengthen the ideology that placed the middle-class family at the center as well as the consumption culture. The combination of consumer media culture, women's movement and democratization created a soft and domestic male image while visualizing the material foundation of the middle class in the 1990s of South Korea. In this novel, the domestic male image transforms the feminist criminal narrative into the narrative of the femme fatale attacking the stability and dignity of the middle class family, and at the moment of the transformation, the feminist woman Kang Min-ju is killed by a lower class man who has admired and loved her. This novel is not only current but also signifying as a text that overlaps sociocultural reproduction and feminist issues of the middle class based on Gangnam in the 1990s. This is because it shows the sociocultural context of femicide, such as serial murder of targeting women, as a core code of criminal narrative to be held in Korea since the late 1990s.