• The Research Journal of the Costume Culture
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• v.24 no.1
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• pp.54-66
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• 2016

This paper examines the transition of the Hungarian men's costume. Transition of the Hungarian men's costume can be divided into pre-eighteenth century, eighteenth century, and since the nineteenth century. Hungarian costume was derived from the Magyar who settled in Hungary in the ninth century. Hungry had begun to accept Western culture in the tenth century, so when the prototype of Hungarian costume was completed, it consisted of Dolman, Mente, pants, and boots combining traditional Magyar style with Western European style. In particular, Dolman shows the uniqueness of the Hungarian men's costume; it has a high, stand-up collar in the back center, closes on the left, has a right front plate with a diagonal cut at the waist, and a wide front closure. In the eighteenth century, Hungarian men's costumes played an important role in displaying national pride while living under the oppression of the Habsburg Empire. In particular, Dolman was worn as a uniform at the battle of independence (1703~1710). This dress of male courtiers became the distinctive style of the eighteenth century and then became the basic style of men's costumes. Since the nineteenth century, Hungarian men's costumes have acted as an means to promote the national consciousness of Hungary through the Citizen Revolution (1848), the War of Independence (1849), and the formation of the Dual Empire (1867). Looking at evolution of the Hungarian men's dress style, it reveals that resistance and struggles against other nations, a history of aggression, and living under oppressed are factors that impact on important clothing transitions.

• Journal of Korean Ophthalmic Optics Society
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• v.20 no.1
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• pp.61-66
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• 2015

Purpose: In this study, dynamic stereoacuity of 20s' adults were measured by using the Howard-Dolman test(H-D TEST, Bernell, U.S.A), and compared of male and female. And the correlation between dynamic stereoacuity and PD(pupillary distance), and between dynamic stereoacuity and anisometropia caused by difference in the spherical refractive power of the left and right eyes were analyzed. Methods: The mean age of $22.68{\pm}0.50$(20~29)years old, 20s' 63 adults (30 male, 33 female) were conducted for this experiments. After the full correction of subject's refractive error, dynamic stereoacuity was measured 5 times for 1 subject at 2.5 m distance using the H-D test. at 2.5 distance. Results: The mean of dynamic stereoacuity was $28.44{\pm}25.03$ sec of arc for total subjects, $28.23{\pm}23.34$ sec of arc for male, and $28.63{\pm}26.83$ sec of arc for female. In the dynamic stereoacuity classified by the range of inter-pupil distance (IPD), the dynamic stereoacuity was $33.87{\pm}18.53$ sec for the IPD being under 59.80 mm, $26.24{\pm}25.26$ sec of arc for 59.81~66.15 mm, $34.60{\pm}25.65$ sec of arc for over 66.15 mm. However, there were no significant differences between 3 groups (P=0.73, r=0.03). In dynamic stereoacuity classified by the refractive error difference between two eyes, dynamic stereoacuity was $26.81{\pm}24.86$ sec of arc for the under 1 D, $41.45{\pm}24.18$ sec of arc for over 1 D, and there was no significant difference between two groups (P=0.15, r=0.15). Conclusions: Dynamic stereacuity by the H-D test in 20s adults showed that there was no significant differences between male and female, and PD and anisometropia did not have a significant impact upon the dynamic stereoacuity.

• Journal of the Korea Fashion and Costume Design Association
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• v.20 no.1
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• pp.29-47
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• 2018

This study aims at looking into women's costume style seen in 18th century to 19th century, and reason out a major decoration, then the formative and aesthetic characteristics of the decoration were analyzed. Research results are same as follows. Firstly, the style of women's costumes in the 18th and 19th century includes the Rococo style, Polonaise style, Neo-classic style, Romantic style and Bustle-style. The main decorations shown in these styles are the gather pleats drape of Fold decoration, the flat embroidery quilting of embroidery decoration, and the ribbon braid fringe button feather and fur of attachment decoration. Secondly, the analyzed results found the formative and aesthetic characteristics of the decoration in the 18th and 19th century women's costumes. Fold decorations appeared as a voluminous property in the form of gown mantua jacket pelisse and dress. Especially, femininity and exaggeration were expressed through greatly inflated skirts. Embroidery decoration appeared as planarity by making patterns of gown mantua jacket stomacher overskirt coat dress shawl and dolman. Especially, exaggeration and extravagance were expressed through embroidered mantua surfaces with peony rose poppy primrose daffodil morning glory tulip leaf and lattice patterns in variety of colored silk threads. Attachment decorations were mixed with elements of heterogeneity added to jackets, coats, gowns, petticoats, stomachers, mantuas, pelisses, mantles, dolmans, capes, overskirts and dresses. In particular, exaggeration and extravagance strongly expressed through the decoration with white fox fur at the hemline, neckline and sleeves of cream colored silk dolman.

• Journal of Korean Ophthalmic Optics Society
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• v.19 no.4
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• pp.519-525
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• 2014

Purpose: On this study, we investigated the relationship between the kinetic visual acuity (KVA) and the dynamic stereoacuity and the effects of anisometropia with measuring KVA and the dynamic stereoacuity. Methods: For 63 adults (male 30, female 33), KVA and the dynamic stereoacuity were measured by using the kinetic visual acuity tester (KOWA AS-4A) and the Howard-Dolman test (H-D test) at distance 2.5 m after conducted full correction of subjects' refractive error respectly. Results: The means of KVA were $0.49{\pm}0.25$ for total subjects, $0.58{\pm}0.26$ for male, $0.40{\pm}0.22$ for female, and LogMAD (Log minimum angle of displacement) dynamic stereoacuities were $1.27{\pm}0.44$($28.44{\pm}25.03sec$ of arc) for total subjects, $1.28{\pm}0.44$($28.23{\pm}23.34sec$ of arc) for male, $1.27{\pm}0.45$($28.63{\pm}26.83sec$ of arc) for female. KVA showed a statistically significant difference between male and female (p=0.00), but dynamic stereoacuity was no significant difference (p=0.97). No significant correlation was present between KVA and dynamic stereoacuity (r=0.03). Also there were no significant differences in the dynamic stereoacuity of the three group which were classified according to the low, middle, high range of KVA (p=0.99). The anisometropia were less than 1 D and over 1 D when divided into two groups, KVA and dynamic stereoacuity showed no significant difference between each (p=0.11, p=0.99). There was no significant correlation between anisometropia and KVA (r=0.33), dynamic stereoacuity (r=0.18) but the correlation between KVA and anisometropia revealed more higer than between dynamic stereoacuity and anisometropia. Conculsions: The KVA for adults showed a significant difference between male and female and male was higher than female for KVA. The dynamic stereoacuity due to the KVA, the KVA and dynamic stereoacuity due to anisometropia were not significant differences between each and also were not great correlations.

• Journal of the Korean Society of Costume
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• v.45
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• pp.103-120
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• 1999

The purpose of the study is to show concretely the design features due to cltohes image after classifying the clothes image examining relations between clothes images and design factors. Samples of the study were 507 female university students. Materials of the study were 309 slide film using the spring and fall issues of magazines and catalogues in 1996 and 1997. SAS PC was used to analyze materials and finally priniciple component analysis the analysis by quantification theory 1. The results of the study were as follows. The most important images of clothes were fashion dignity activation and simplicity. In the relationship between the main image and item factor, one-piece jumper half-coat culotte skirt pantaloons and slim pants had an important effect on the fashion image while two-piece jacket, blouse, straight pants had an effect on the dignity image and three-pice, T-shirt, shirt-vest pantaloons normal pants culoote skirt and gather skirt strengthen active image. In the relationship between the main image and silhuette X-silhouette fitting upper and lower clothes upper clothes having waist line or hip bone length and mini-skirt were the factors that raisen fashion image. And in the A-, X-, Y-silhouette having normal fit upper clothes below the knee length skirt and the upper clothes below the hip line were main factors in dignity image. And H-silhouette big size sleeves mini-skirt the upper clothes below hip line were the factors that strengthened the active image. In the relationship between fashion image and detailed factors roll stand and sports collar set-in and shirt sleeves having 5-rate and long sleeves strengthened fashion image. And flat tailored collar boat and high nceckline and bow detail set-i sleeve had an important effect on the dignity image. And shirt collar boat and V-neckline shirt dolman and 7-rate sleeves were the factors that raise active image.

• Journal of Fashion Business
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• v.14 no.6
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• pp.188-203
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• 2010

This study purposed to identify the design and composition characteristics of mantle through a historical review of its change and development focusing on women's dress. This analysis was particularly focused on the Victorian age because the variety of mantle designs introduced and popularized was wider than ever since ancient times to the present. For this study, we collected historical literature on mantle from ancient times to the $19^{th}$ century and made comparative analysis of design and composition, and for the Victorian age we investigated also actual items from the period. During the early Victorian age when the crinoline style was popular, mantle was of A.line silhouette spreading downward from the shoulders and of around knee length. In the mid Victorian age from 1870 to 1889 when the bustle style was popular, the style of mantle was changed to be three-dimensional, exaggerating the rear side of the bustle skirt. In addition, with increase in women's suburban activities, walking costume became popular and mantle reached its climax. With the diversification of design and composition in this period, the name of mantle became more specific and as a result, mantle, mantelet, dolman, paletot, etc. were used. The styles popular were: it looked like half-jacket and half-cape. Ornaments such as tassels, fur, braids, rosettes, tufts and fringe were attached to create luxurious effects. In the late Victorian age when the hourglass style was in fashion, mantle returned again to plain design emphasizing the details of the shoulders. The results of this study are expected to present motives for the development of contemporary designs, to contribute to the new recognition of the value of mantles, and to open a new research area of clothing history.

• Journal of Korean Ophthalmic Optics Society
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• v.20 no.3
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• pp.377-384
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• 2015

Purpose: On this study, we measured and compared the dynamic stereoacuity by two-rods test (Howard-Dolman Test) and three-rods test. And we analyzed the correlation between PD and refractive error with dynamic stereoacuity. Methods: Dynamic stereoacuity of two-rods test and three-rods test at 2.5 m distance for 93 adults 93 (50 males, 43 females), mean age of $21.27{\pm}2.32$ (19~32) years old, were measured 5 times for two tests. Results: The mean of dynamic stereoacuity measured by two-rods test and three-rods test were $29.91{\pm}23.03sec$ of arc and $23.75{\pm}21.65sec$ of arc for total subjects, respectively. The mean of male and female were $36{\pm}22.38sec$ of arc and $22.28{\pm}23.79$, respectively. Three-rods test showed better dynamic stereoacuity than two-rods test, but there was no statistically significant difference (p>0.05). For the average standard deviation of PD between 60.63 mm~66.19 mm, dynamic stereoacuity fo two-rod test and three-rod test were $31.48{\pm}24.87sec$ of arc and $31.48{\pm}24.87sec$ of arc, respectively. The results showed statistically significant difference (p<0.05), but the relationship between dynamic stereoacuity and PD was not great. Comparison between two tests on the basis of refractive error, dynamic stereoacuity by three-rods test was better than by two-rods test with no significant difference between both tests (p>0.05) and there was little correlation between refractive error and two dynamic stereoacuity. Conclusions: Three-rods test showing lower stereoacuity than two-rods tests could measure the lower minimum threshold of dynamic stereoacuity. It was found that both tests can be applied to dynamic stereoacuity test as a standard test, and PD and refractive error was found that little effect upon the dynamic stereoacuity. PD and refractive error was found that little effect upon the dynamic stereoacuity.

• Archives of Plastic Surgery
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• v.37 no.3
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• pp.265-270
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• 2010

Purpose: Most of the bilateral structures in our body are not perfectly balanced, such that one side is preferred than the other or it has physiological superiority. Eyes also have an imbalance; the eye with sensory and motional superiority compared to the other is called dominant eye. Authors of this study focused on analyzing the correlation between the dominant eye and levator palpebrae superioris muscle. Methods: The subject of this study was 42 patients with no ptosis and with no past history of blepharoplasty. Hand dominance was identified through questionnaire and dominant eye was identified by hole-in-the-card dominance test (Dolman's test) in all patients. The function of levator palpebrae superioris muscle was measured by MLD (marginal limbal distance). During the measuring procedure, frontalis muscle was not inhibited to avoid the eyelid skin hooding. Results: Out of 42 patients, 27 patients (64.3%) were right ocular dominant, 15 patients (35.7%) were left ocular dominant, 36 patients (85.7%) were right hand dominant and 4 patients (9.5%) were left hand dominant. Out of 27 right ocular dominant patients, right MLD was larger than the left in 26 patients (96.3%). It was larger in average of 0.47 mm (p<0.001) in 27 right ocular dominant patients. Also, left MLD was larger than the right in 11 patients (73.3%) out of 15 left ocular dominant patients. It was larger in average of 0.57 mm (p=0.003) in 27 left ocular dominant patients. MLD on the side of the dominant eye was larger in average of 0.50 mm (p<0.001) than the MLD of non-dominant eye side. Right MLD was larger than the left in average of 0.28mm (p=0.010) in right hand dominant patients, and left MLD was larger than the right in average of 1.15 mm (p=0.025) in left hand dominant patients. Conclusion: The function of levator palpebrae muscle differs in right and left, and the difference correlates with the dominant eye. Also, the function of levator palpebrae muscle is stronger in the dominant eye. We were able to present statistical evidence regarding the difference of the function in right and left levator palpebrae muscle. This may be a factor worth consideration in terms of balancing the eyes during the blepharoplasty.