• (The) Research of the performance art and culture
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• no.18
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• pp.223-255
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• 2009

This paper deals with the tradition and identity of physical expression(${\bar{a}}{\dot{n}}gika$ abhinaya) system in Indian traditional theatre and dance. The ${\bar{a}}{\dot{n}}gika$ abhinaya of Indian dance and theatre has been stylized through long terms and thereby defines their identity and peculiarity by its highly stylized expression techniques while following dramatic way($n{\bar{a}}tya$-dharmi). The ${\bar{a}}{\dot{n}}gika$ abhinaya is said to had been derived from the ritualistic practice of ancient Vedic period(B.C. 15th-B.C. 5th c.), which is most clearly exemplified in hand gesture(hasta mudra). In $N{\bar{a}}tya$ ${\acute{S}}astra$, ${\bar{a}}{\dot{n}}gika$ abhinaya is explained in detail. It is classified broadly into facial expression(mukhaja abhinaya), gesture expression(śārīra abhinaya), movement expression($cest{\bar{a}}krita$ abhinaya). Further, $N{\bar{a}}tya$ ${\acute{S}}astra$ divides their various usages by parts which include head, glance, eyes, nose, eyelid, cheek, lower lip, chin, mouth, hand, chest, waist, belly, hip. thigh, claf, foot. Besides, it explains diverse ways of foot movement($c{\bar{a}}ri$), standing poses(sthana), gait(gati) and their combined movements(mandala). Many forms of Indian traditional theatre and dance basically follows the rule of ${\bar{a}}{\dot{n}}gika$ abhinaya proposed in $N{\bar{a}}tya$ ${\acute{S}}astra$, which identifies their unique characteristics.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2004.11a
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• pp.128-132
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• 2004

Researches for sex consist feminism which manage academically, also variously in the fields of medicine, psychology, politics, society, philosophy, culture research etc. Moreover, sex has become that can no fall in art, dancing, fashion, literature, play movie, mass media, all art fields. About the proposition of sex, even the intellectuals tended to consider sexual love and bodily problem of sexual desire until the mid-20th century. Nevertheless, passing over physical function, man and woman, society, cultural situation and the various concept which contains the differences finally clearly have come in 21th century. Therefore, on this study, find out the relationship between interior design and sexuality and sexual expressional type. Also, through analyzing aspects which is expressed in popular culture, clear new interior design under the concept and characteristic of sexuality.

• The Korean Journal of Physiology
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• v.4 no.1
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• pp.1-11
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• 1970

Studies on the analysis of walking were performed on 33 male subjects. A prescription of physical exercise (walking at a speed of greater than 6 km/hr for more than one hour daily) for the promotion of individual health is presented on the basis of walking analysis. Presumptions were made that adequate physical exercise does promote health and is beneficial for the healthy life and increases the life span. These presumptions were derived from the numerous experimental literatures. The literatures support indirectly the presumptions. The following results were obtained and prescription of physical exercise is presented. 1. Oxygen uptake in a walking on a treadmill at a speed of 4 km/hr was only 3 times of the resting oxygen uptake. This kind of moderate exercise did not stimulate the cardiopulmonary system adequately. Heart rate at a 4 km/hr walking was 101 beats/min in boys of less than 20 years old and 83 beats/min in adults. Oxygen uptake at a 6 km/hr walking exceeded 4 times of the resting oxygen uptake. It was interpreted that walking at 6 km/hr stimulated the cardiopulmonary system for the promotion of health. Heart rate at this speed was greater than 110 beats/min in boys and greater than 100 beats/min in adults. 2. Heart rates in a walking of 10 km/hr were 172 beats/min in boys, and 143 beats/min in adults, respectively. Maximal heart rates were 185 beats/min in boys, 180 in office clerks, and 168 beats/min in construction site laboreres. 3. The correlation between heart rate and oxygen uptake was high, namely, r>0.95. Subsequently heart rate could be used as a measure of degree of intensity of physical exercise instead of the cumbersome oxygen uptake measurement. 4. The prescription of physical exercise for the promotion of health is: Daily walking for more than one hour at a speed of greater than 6 km/hr. Bodily functions in this daily walking are in boys (body weight, 50 kg): heart rates of 110 beats/min; breathing frequency, 28/min; oxygen uptake, greater than 4 times of the resting uptake; pulmonary ventilation, 351/min; stride, 124 strides/min; cumulative number of strides for one hour, 7,440 strides, and energy expenditure of more than 300 kcal. In adults (body weight, 60 kg) the bodily functions are: heart rates of 100 beats/min, breathing frequency, 28/min; oxygen uptake, greater than 4 times of the resting uptake; Pulmonary ventilation, 301/min; stride, 127 strides/min; cumulative number of strides for one hour, 7,670 strides, and energy expenditure of more than 300 kcal.

• The Research Journal of the Costume Culture
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• v.15 no.4
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• pp.604-619
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• 2007

Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Using 'body' to analyze the clothing form, my study develops a framework by which to classify the representation and non-representation of the body in fashion. Theoretically, this study draws from Jean Baudrillard's Simulation theory which maintains that simulation develops the whole edifice of representation. My study substitutes the successive phases of the image to that of (non) representing body in fashion. The correspondences between them are; first, 'image is the reflection of a basic reality' for the representation of physicality, second, 'image masks and perverts a basic reality' for the manipulation of physicality, third, 'image masks the absence of a basic reality' for the absence of physicality, and fourth, 'image bears no relation to any reality whatever' for the absence of body in fashion. Aesthetic ideal of the body is visualized in the form of a dress. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. My study suggests a framework to analyze bodily representation in fashion, focusing on the relationship between the clothes and body.

• Journal of the Korean Society of Costume
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• v.56 no.7 s.107
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• pp.126-141
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• 2006

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing farm, my study develops a framework by which to classify the representation of the body in fashion focusing on the representation of physicality. In order to inquire the formative style and aesthetic values expressed in representing body in fashion, my study examines subjects from the 14th century European costumes to fashion collections of the 20th century. In fashion, representation of the body is visually analogous to the ideal body shape and structure, including a realistic presentation of the body as well as reflection of aesthetic ideals. Representation of physicality refers to structural designs and elastic fabrication. Structural designs appeared in tailoring and bias-cut draping, as well as in stretchy clothes such as Lycra body suit and knit garments that highlights the body structure and movements of the body joints. In representing physicality in fashion, clothing forms reflect body silhouette and each body parts. Therefore, the shape of clothes (signifiant) corresponds to the anatomy and movement of the body ($signifi\'{e}$) in pursuit of aptness. Aesthetic ideal of the body is visualized in the form of a dress. Some clothes prioritize the body, particularly the feminine bodily curves, while others focus on the clothing itself as abstract and sculptural forms. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in fashion, focusing on the relationship between the clothes and body.

• The Research Journal of the Costume Culture
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• v.19 no.3
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• pp.501-517
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• 2011

This study investigates the concept of the body in Korean traditional costume by comparing the traditional costumes of the west and those of Korea while focusing on the relationship between the body and dress. In order to make a comparison of the traditional perspectives on the body in western and Korean costumes, this study examines the literature of history, art, medicine, philosophy as well as dress from the mid-fourteenth century to the nineteenth century pertaining to the west and those of the Joseon Dynasty Korea. Western dress assumes apparent formal structures and pursues overall harmony via the completeness of its entities, while traditional Korean dress subordinates the parts to the whole, emphasizing the organic total. Whereas the proportion of bodily structure is stressed in western traditional costume, in Korean costume the body is perceived as a whole. By revealing the body through the three dimensionalities of dress, the focus on the erogenous body parts is shifting in conventional western dress according to changes in aesthetic consciousness, which reflects the western ideas of objectiveness and self-centeredness. In traditional Korean dress, in the space between the body and dress, the emphasis is on planarization of the dress, which assumes the oriental relationship-centeredness concept.

• The Research Journal of the Costume Culture
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• v.9 no.3
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• pp.485-500
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• 2001

The purpose of this study is to develop the formal wear for social activity of dwarf. Second investigation for choices of designs based upon data from the first questionnaire investigation, led us to make proposals for design, pattern production, garment-cutting and dressmaking. The effect of wearing the made-up garments was carefully evaluated in order to establish principles for the development of clothes for dwarf. Conclusion is as follow. Dwarf felt uneasy in conventional street dress. When buying clothes their most important criteria was design wanted clothes that would help them to look taller. Analysis of design preference to complement perceived physical weak points revealed: 'a pink ensemble' comprising of a high-waist, one-piece dress, and a black slacks suit comprising of a striped, single-breasted, tailored jacket, and straight-type slacks and blouse. It was found that a bolero jacket and a high-waist, ankle-length, one-piece dress helped create an optical illusion of increased height, for both the wearer and an observer. A pastel ton-pink, one-piece also created this effect on small bodily types, as well as offering a silky, mellow attractiveness. A suit of a striped, single-breasted tailored jacket, and straight-type slacks and blouse, created the two fold illusion of disguising hip imbalance with the length of the jacket and drawing an onlooker\`s gaze to the wearer\`s face through the tailored collar, they also looked taller due to the stripes.

• The Research Journal of the Costume Culture
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• v.11 no.3
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• pp.375-386
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• 2003

The purpose of this study is to seek the change of body surface according to cycling motions and to give suggestions to the pattern and spare space between body and wear in each bodily parts to be heavily considered for making the bicycle wear. The cycling motions were analyzed by taking the sequential pictures of cycling covering motion by a digital camera. The experiments with gypsum were toward a woman in her twenties. We draw the line standard of the body's surface, separated their gypsum-replicated fragments of body's surface following the analyses of the change in their lengths. As the motions were made, we decided the degree of the changed length as spare space when compared the erected posture with the cycling posture, presenting the pattern of the cycling wear with the preparation of wears for testing. After that, the essential experiments were conducted toward three cycle players wore our experimental wears. Regards their evaluated appearance, evaluations over three points were obtained from all parameters except the width of front armhole. Accordingly, our experimental wears were remarkably understood as a relatively proper wear as bicycle wear.

• Journal of Pharmacopuncture
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• v.20 no.4
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• pp.230-234
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• 2017

Objective: Neurasthenia is a disease which consists of increased fatigue or bodily weakness and exhaustion plus pantalgia, dizziness, headache and other symtoms relevant to autonomic nerve dysfunction. There are plenty of studies investigating the history of diagnostic criteria of neurasthenia, which is influenced by diverse cultural(or social) environment. The obejective of this study is to provide review of the previous studys on the changes of neurasthenia diagnoses in the context of local area to find meanings of these transition and improve health care for psychiatric patient. Methods: Literature review was conducted on studies demonstrating diagnostic criteria of neurasthenia with cultural(or social) environment. We investigated the literature reviews or observative studies which described alteration of diagnostic criteria of neurasthenia and assessed its significance. After selecting eligible studies, the authors read the articles and summarized the meaningful contents those were significant in clinical practice. Results: Transformation of Chinese Classification of Mental Disorder(CCMD) integrated with internationally utilized DSM-IV or ICD-10 is controversial about its significance in that it had limited effect on public health care due to the variables of sociocultural context, but primarily differentiated neurasthenia from other disorders. The latter one can be the directing point of the diagnostic criteria of other culture-bound diseases, which is the traits of not outstanding mood(or affect) than other neurotic disorders. Conclusion: As diagnostic criteria of neurasthenia varies, the significance of this variation is controversial, but could be the paragon of other culture-bound diseases.

• Korean Journal of Applied Biomechanics
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• v.25 no.2
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• pp.207-218
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• 2015

Objective : The purpose of this study was to investigate the characteristics of Gam-ki (double-arm winding) depending on the emotion being expressed. Gam-ki is one of the basic movements of Korean traditional dance. Method : We selected three Korean traditional dancers who belong to National Dance Company of Korea. They were asked to express four different emotions (anger, joy, sadness, and neutral) while performing Gam-ki. We analyzed elapsed time and time ratio, size of movement, ground reaction forces and ground impulses. Results : During Gam-ki the elapsed time for each phase as well as for one cycle was longest when "sadness" was expressed then followed by "neutral" and then "angry" and "joy." Except for the ankle in/eversion, the ROMs of the lower limb joints seem not to be an emotion-characteristic factor. The ROMs of the upper limb joints were largest when "anger" was expressed. Neck rotation is associated with expressing negative emotions ("angry" and "sadness"). For medial-lateral GRF "angry"> "joy" > "neutral" > "sadness" was in order. Therefore, it can be regarded as a factor indicating the activity of the emotion.