• 복식문화연구
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• 제1권1호
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• pp.33-68
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• 1993

The purpose of this paper is to survey the influence of the culture change on the dress and personal adornments, and to survey the change of factors from the August 15. 1945 to 1960, in connection with the social and cultural background, applying B. Malinowski′s "Theory of Culture Change" which means an acculturation is the change′s elements of the dress and its ornaments. It is remarkable that the dress and personal adornments of Korean women after August 15, 1945 has great change from the traditional dress of the thousands years. Through the Liveration on August 15, 1945, American military government and the establishment of the Korean government, American democracy has brought many changes on Korean society. Advancement of education, an society with developed economic life, and introduction of scientific skill have influenced on the women′s way of thinking and a style of behavior and the view of value. The acculturation, the supply of mass communication, introduction of new institution and the reorganization of the old institution, the change of the economic situation, the change of the educational system, the change of the point of value, the development of scientific skill have greatly influenced on the dress and personal adornments. Modern dress and personal adornments of Korean women has the following developing procedure. The Liberation from Japan on the 15th, of August, 1945, the stationing of American Soldiers during hte Koran War, returning of the oversea′s brethern, and the mass communication have the direct and indirect contact with western civilization, and bring the occasion of development of the modern dress of Korean women. The increase of mass communication, such as radio, TV, newspaper, magazines and the frequent fashion shows showed fine design and practical western style dress to the women. This was the real beginning of the western style dress in Korea. By the increase of employment and the improvement of the economic situation, the consumption of clothing and the adornments was increased, so that a wide variety of fashions was set, and numerous kind and form of dress came in. As the increase of the number of women students, their practical and free dress life demanded western style dress. After the Liberation from Japan, the open-door policy of sex, public morals and traditional ethics became lax, and in this disordered society, indecent expose of the body was common. By the different kind of technological development, the form, fabrics, colors and patterns in clothes were much influenced and the hair style, make up, shoes and adornments were much influenced too. As shown above, the change of the dress has the same connection with that of society and culture. This shows that the dress and personal adornments represent clearly the cultural phenomenon of the society and cultural change of the society.

• 복식
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• 제36권
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• pp.239-262
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• 1998

The pursuit of freedom by the individual--desire to be liberated from all forms of restrictions-- is one of the defining character-istic of the modern society. As costume is, in part, a product of the spirit of the times, it was only natural that this desire for freedom would find its expression in modern costume as well. Among various forms of restrictions, differentiaton by sex has placed one of the most significant binding influences on individual behavior. From early times, the dichotomous division by sex was incorporated into the disign of costume, and the traditional differestriction of costume by sex imposed a significant restriction on the background,“the modern androhynous look”was born as a by-product of the sexual liberation movement in the second half of the 20th century, based on the concept of the individual as a complete human being rather than as a member exclusively of either the male or the female sex. This paper seeks to examine the androgynous look within a coherent theoretical frame-work, and explore new design possibilities by analyzing and understanding the visual characteristics of the androgynous look. In addition, this paper seeks to define the functional aspects of the androgynous look based on the premise that costume is an embodiment of the spirit of the times. As for research methodology, both theoretical and historical methods are employed. Through a theoretical examination of historical documents, the meaning of the androgynous look is explored from various angles, and order to examine its place in modern fashion, an-drogynous styles are categorized and system atically analyzed. The main findings of the paper can be summarized as follows : 1. Androgyny is a compound word consisting of“andro-”(meaning man) and“gyn-”(meaning woman). In modern times, this word has been associated with the socio-cultural aspect of gender rather than the physical or physiological aspect with the pshchological characteristics of the male and female sexes. Androgynous styles also appear in fashion and general arts such as drama, film, dance, and music. In fashion, the androgynous look, represented by the visual superimposition of “masculine”and “faminine”elements, has emerged as a major element of the 20th-century costume, and has gained broad acceptance among those free spirits wishing to be liberated from the conventional conceptions of male clothing, and the unisex look. 3. The androgynous look in modern fashion reflects the spirit of the 20th century society and culture, and performs various functions as follows : expression of fun, change in gender roles, expression of the inner consciousness, and pursuit of the ideal human type.

• 패션비즈니스
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• 제13권1호
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• pp.152-166
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• 2009

By virtue of the development of mass media, the cinema, the composite space art taking the visual and auditory elements together, exhibits the actual life of the realities, thereby having a mutually close relationship to social, cultural and economic fields and continuing to generate the fashion code as well as reflecting the image of the times. Especially, fashion style in movies delivers their image and atmosphere and becomes the means for containing the personality, spiritual world and inner thinking of the characters in the movie and inducing its plot. Therefore, this study was intended to make clear that fashion fuses and shares with a diversity of genres such as movies and the like, becomes the cultural model that proceeds to create a new culture in relation to daily life and induces and presents the trend of contemporary fashion. For this purpose, this study attempted to analyze fashion style in the movie. Lolita is the fiction published by the Russian?American writer Vladimir Nabokov($1899{\sim}1977$) in 1954. It is the fiction that portrays the unethical love between Humbert, a middleaged man, and Lolita, a girl in her 10s. It was cinematized by the director Stanley Kubrick for the first time in 1962 and revived by the movie director Adrian Lyne in 1997. The character of Lolita has a younger look like a girl and looks immature in the movie directed by the movie director Stanley Kubrick and the movie director Adrian Lyne. But the character of Lolita has the commonality that she showed an incomplete female image of having a sexually freewheeling thinking. Thereby, this study sought to prove that the created fashion style of the character in the film not only became the clue to enable us to know the time and space background in the film but also helped the film develop effectively by performing a role of portraying the character in the movie. And it attempted to present that it becomes both the foundation for leading the fashion trend shown in contemporary fashion and the code of mass culture. Fashion style of Lolita in the movie appears to be reflected diversely in mass culture as well as fashion style in the contemporary times.

• 한국방사선학회논문지
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• 제11권7호
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• pp.547-553
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• 2017

현재 의료분야에서는 방사선 차폐체로서 납(Pb)이 널리 쓰이고 있다. 하지만 납은 무게가 매우 무거워 납치마 등의 방호복은 장시간 착용이 어려우며, 인체에 치명적인 납 중독의 위험이 상시 가지고 있다는 문제점을 가지고 있다. 이러한 문제점을 해결하고자 납을 대체 할 수 있는 물질에 대한 많은 연구가 진행되고 있다. 현재 납의 대체물질로써 대표적인 바륨(Ba)과 요오드(I) 등은 우수한 차폐능을 가지고 있지만, 30keV 근처의 에너지 영역에서 특성 X선을 방출하는 특성을 가지고 있다. 환자나 방사선 종사자의 경우 차폐체를 인체에 접촉하고 있는 경우가 많으므로 차폐체에서 발생되는 특성 X선이 인체에 직접 조사되어 방사선 피폭을 증가시킬 위험이 매우 높다. 본 연구에서는 바륨(Ba)과 요오드(I)등에서 발생되는 특성 X선을 제거하기에 적절한 이중구조 차폐체를 방사선 수송코드 중 하나인 FLUKA 수송코드를 개발하여 선행연구로서 진행된 MCNPX 시뮬레이션과 비교 분석하여 이중구조 차폐체의 차폐율에 대한 신뢰성을 검증하고자 하였다. MCNPX와 FLUKA를 이용하여 황산바륨($BaSO_4$)과 산화비스무스($Bi_2O_3$)로 이루어진 다양한 두께조합의 이중구조 차폐체를 설계하였으며, IEC61331-1에 제시된 모식도를 기하학적으로 동일하게 시뮬레이션 상에 구현하였다. 또한, 120 kVp의 연속 X선 스펙트럼에 대한 차폐체의 투과스펙트럼과 흡수선량을 납과 비교 평가하였다. 평가결과, $0.3mm-BaSO_4/0.3mm-Bi_2O_3$ 와 $0.1mm-BaSO_4/0.5mm-Bi_2O_3$ 구조에서는 33 keV와 37 keV의 특성 X선을 모두 흡수하였으며, 90 keV 이상의 고에너지 X선에 대해서도 납과 거의 유사한 차폐효율을 보였다. 또한, FLUKA의 수송코드는 33 keV 이하에서는 cut-off 가 발생하여 저에너지 X선 광자에 대한 전산모사에 제약이 있지만, 40 keV 이상의 고에너지 영역에서 MCNPX와의 상대오차가 6 % 이내로 신뢰성이 매우 우수하다는 것을 확인할 수 있었다.