• The Research Journal of the Costume Culture
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• v.18 no.4
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• pp.599-611
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• 2010

The purpose of this study is to develop the most appropriate garment patterns for dog. This study is analyzed the body structures and bodily movements of different types of dogs and constructed garment patterns that are appropriate for each category: the basic pattern for dogs with oval-shaped chests; and the modified pattern for the ones with barrel-shaped chests. Analyzing some of the existing patterns in the market as well as studying the size chart of one of the dog apparel manufacturers, who participated in the Fashion Week for the very first time, were undertaken in order to understand the bodily figures and movements of dogs. Furthermore, based the previous studies and relevant information available regarding some of the most popular dogs in four selected countries: (names of the selected countries), dogs were broadly categorized into three groups according to the shape of their chests: Oval, Barrel, and Flat-sided. Later, two types of pattern were created and then constructed for fitting: the basic pattern for oval-shaped chest; and the modified pattern for barrel-shaped chest. As a result, the two patterns turned out to be most suitable for pet dogs.

• The Research Journal of the Costume Culture
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• v.5 no.3
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• pp.129-141
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• 1997

This study analyzes the factors of the pleasure principle through female costume in the paintings of Renoir, based on the Freud theory. The factors of the pleasure principle pursuing the desire-satisfaction are described as follows ; narcissism, exhibitionism, extension of the bodily self, the emphasis of erogenous zone, and muscle-erotism.

• International Journal of Advanced Culture Technology
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• v.9 no.3
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• pp.62-67
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• 2021

This thesis examines the term a performer's sincerity taking into consideration issues of the bodily engagement and specifically addressing the place of a performer's respiration. The main emphasis in this research will be on the tendency to a performer's anticipation in contrast to a state of being in the moment on stage. Exploring and reconsidering the process of training the performer's body reminds us the significance of rigorous training in an appropriate way(s) within which the performer's body enables to meet the principles of acting with the nature of theatre as his/her body is responding and subordinating to the moment on stage. Here, this thesis argues that we need to acknowledge that initiating any bodily movement has to understood and then inhabited by negating a performer's active willingness where the source of energy, breathing roots, then transfers through the entire body rather than the mere use of the external forms or muscles. To be precise, maintaining the internal energy through the moment informs how the performer interrogates where and what s/he is in a state of whole body engagement preventing the performer's self-doubt about what s/he is doing in the next moment(s). The process should be considered as a qualitative bodily shift gazing into his/her inner territory to reach behind a linguistic and/or an intellectual sense. The research finding suggests that a performer's art is to allow the animating respiration in order to facilitate and enliven his/her entire body as oneness which in turn moves his/her scene partner(s) as well as the spectator in the here and now.

• Korean Journal of Human Ecology
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• v.18 no.6
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• pp.1257-1266
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• 2009

The developments of consumption culture and mass media have caused consumers to take a greater interest in appearance, and as a result, the appearance related industry has been rapidly developed. Since appearance serves as a means to attain a smooth and successful social life, women invest a lot of time in cultivating their appearance more prominently than others and are more agreeable to the criteria of beauty in society. This study is to analyze the degree of satisfaction of appearance in teens to women in their 50s as classified by their lifestyle. For the data analysis, the statistical program, SPSS WIN 14.0 was used. First, the results of examining the degree of interest in appearance, the degree of bodily satisfaction, and the degree of bodily importance showed that the interest in appearance was highest in the fashion pursuing group. The degree of bodily importance was highest in the economy-oriented group. Second, appearance management attitudes showed significant differences m hair attitudes, makeup attitudes, skin attitudes, face-lifting attitudes, and clothing attitudes, depending on the types of lifestyle. Third, it could be seen that the conservative-oriented groups were doing more skin care management than the other groups.

• 한국노년학
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• v.31 no.1
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• pp.157-170
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• 2011

The purpose of this article is to examine how the 'bodily culture' of older men who gather at Jongmyo Park serves to express and solidify their sense of a enduring self. The research was carried out based on the anthropological methods of participant observation and in-depth interviews at Jongmyo park and its adjacent areas. In later life, the image of a continuous self becomes harder to achieve due to the ageism prevalent in modern societies. The situation is worse at Jongmyo park since the park itself has been stigmatized as "the extraterritorial zone for the old" by the media due to the boisterous atmosphere of the park. It is dubbed as a place for those who have nowhere else to go. The singing and dancing, which used to be the dominant forms of activities at the park among older men until the 'sanctification' project propelled by the government, serves as an antidote against the ageist tendency to subjugate them. The 'bodily culture' embodies these men's image of themselves as a continuous being which has not been tarnished by the passage of time. The approach of 'body hermeneutics' is required to interpret the experiences of the body in later life.

• International Journal of Advanced Culture Technology
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• v.10 no.2
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• pp.148-153
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• 2022

This thesis investigates the meaning of a performer's energy taking into an account of the full bodily engagement as the flow of energy and/or psychophysical readiness focusing specifically on the significance of qualitative bodily transformation. In this contemporary era, the dominance of performer training and its approaches to acting/training has very frequently meant that how to play a character in a textual based approach by emphasizing on interpreting and impersonating the role as real as possible. In this sense, as a performer trainer, from my observation and research findings shows that it is common for the term energy is not to be motivated by what a performer's body needs within a specific moment in specific performance which they are working on. To address the problematic issues, this thesis begins by interrogating the practical meaning of transformation with addressing the principle and process of movement by means of the flow of energy on stage. For a performer, inhabiting/integrating his/her body and mind as oneness and/or unity means s/he sincerely encounter, confront, and therefore listen to his/her body in here and now. Because since the performer's physical appearance completely defined his/her psychological state, no one can play either the past or the future in the moment. In this manner, an appropriate use of energy synonymous with the flow of energy correspondence with the given time and space in which the performer's body informs and initiates movement as necessary action. To be precise, the performer's bodily movement either visible or invisible in a sense of training and rehearsal is perceived as attaining or achieving psychophysical involvement as the full body engagement which enable to make the event happen in the right moment. Here, this thesis argues that the significance of a performer's inner intensity reminds us of the necessity of qualitative transformation on which the performer could discover his/her own mode of awareness as well as a way his/her body function in the given circumstance. From this point of view, this research finding would advocates that the performer's body maintains in the field of energy flow where his/her conscious effort and/or mindfulness disappear. The performer's movement is a manifestation of the whole bodily engagement by means of being as real in that moment rather than representing reality.

• International Journal of Advanced Culture Technology
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• v.9 no.1
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• pp.58-63
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• 2021

This research aims to reconsider the necessity of an alternative way(s) for contemporary actor training and acting in discussing and articulating Diderot and Suzuki's concepts and approaches for acting/training. First of all, the physical body, assumed and conceptualized by Diderot is beyond our control by means of a type of radical body/mind dualism, and is based on the concept that body and mind are separate. In contrast, Suzuki's notion of acting/training is raised by his concern about the role of an actor's body in the constitution of an actor's bodily experience against the imitation of the West-oriented theatre/acting/training. The descriptions of the two theatre artists' notion of acting/training gives us insight into the place and role of contemporary theatre as a practical root to encounter and communicate between a doer and a spectator where an actor's body must appropriately be attuned and cultivated towards the cultivation of bodily attributes which are foundation but usually neglected by actors/directors/practitioners particularly in Korea. Especially, misunderstanding of a specific training sources/approaches, namely 'scientific system' and the 'method' have taken us away from the potential possibilities of the lived oneness. Here, the 'possibility' refers to the primary bodily functions within a specific context or being in the here and now rather than attempting to copying, imitating and/or adapting a specific cultural source(s)/approaches/techniques as we have faced with through the previous century. We reconsider and argue that a potential way to correspond the nature of theatre/acting/training is that how to meet the demand of contemporary spectators which in turn intensifies an actor's stability, sustainability and hopefully professional identity in this contemporary era.

• The Research Journal of the Costume Culture
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• v.5 no.3
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• pp.176-183
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• 1997

To develop the bodice pattern of the master size of the established size chart which was suggested in the former studies, the wearing experiment was practiced. According to the result, developed pattern design in this study boys\` bodily characteristics were reflected fully. And especially, New pattern design method was suggested at chest circumference, neck circumference, arm circumference, chest breadth, and center front line. The study results were put into the database in order to apply apparel CAD system, and they could be easily used in standardization work of design pattern.

• The Research Journal of the Costume Culture
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• v.18 no.6
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• pp.1254-1260
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• 2010

In such special or precious occasions as a wedding ceremony, brides, handicapped or not, wish to wear a beautiful wedding dress. However, an ordinary wedding dress is not suitable nor convenient to a bride who has a bodily impediment. A one-piece type wedding dress, which even a normal bride needs assistants to help her wear, will create more inconvenience to crippled females. In this connection, this study is purposed to convert a normal ready-made wedding dress design into one suitable to the bodily handicapped females. For handicapped people on a wheelchair who generally put on and off a wedding dress while sitting on the chair, a one-piece type wedding dress is divided into the top and the skirt to make it a two-piece type wedding dress which is easy to get into and take off. The top should be separated from the skirt in such a manner that the wearer may not be aware of the division of the two pieces but easily put on and off since the sides or back of the top is opened. An opening is also given to the sides of the skirt so that handicapped people may sit on the skirt on the chair and then close the opening by themselves. Converting ready-made wedding dress design into functional clothes for handicapped people is really significant in that ready-made clothes can be recycled, their production cost reduced, and the economic burden of handicapped people relieved.

• The Research Journal of the Costume Culture
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• v.14 no.6
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• pp.1042-1055
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• 2006

The purpose of this study is to consider the formative characteristics of dance sports from such points of view as shapes, colors, material and decorations, and to examine artistic characteristics that are expressed through those elements. As a result, this study shows five artistic characteristics as follows; First, rhythmic characteristic is expressed with repeat of lines that is formed by pleats, shirring or gather, with duplication of ruffle's wave, with gradation of colors, with Moire-effect that is generated with overlap of see-through material, with glossy material that reflects lights to a great extent, with fringe. Second, bodily characteristic emphasizes the beauty of human bodies through direct or indirect body exposure by way of cut-and-open, see-throughness or close adhesion. Third, decorative characteristic is shown with beads, fringe, ruffle, embroidery, shirring, binding, or feather. Fourth, the beauty of female body is manifested to express eroticism, which is culminated by body exposure, body consciousness, use of illuminating or see-through material or colorful trimming. Finally, elegant characteristic is revealed through feminity, sophistication, and harmony that are expressed with black and white colors, see-through material, or bead trimmings.