• Journal of the Korea Fashion and Costume Design Association
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• v.5 no.1
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• pp.33-45
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• 2003

This is a study that examines the fashion changes in the 20th century in terms of various subcultures in the period. Starting from defining the concept and the developing process of subculture, this study traces the history of subcultural styles from 1930s to 1990s, focusing on the way each generation resisted the main stream through its styles. This study is intended to provide a theoretical frame on the understanding of subcultural styles, with a close examination of its formative and developing process and characteristics. This study understands subcultural style as a way of deviate or resistant expression within a society. It differentiates itself from the main style by deliberately and publicly asserting its own identity, and, as a result, realizes in the form of fashion its repressed subconsciousness, resistance to the alienation from the society, and deviation from the normative ethics and morality of a society. The four types of subcultural styles presented in chapter 4 are based on their form of resistance, and they are classified and analyzed as follows: The first type is revision, which tries to revise and change the given form by adding new elements. There are two kinds of revision, one is dressing up, which dresses for success, and the other is minimal dressing. Hyperbole is the second type, which resists by emphasizing or hyperbolizing the main stream with its erotic, nihilistic, or dynamic forms. Two kinds of hyperbole are examined, one is hyperbole of masculinity, and the other is ostentatious hyperbole. The third type is reversal and rejection, which reverses the forms from the established sign system into its own secret code, or rejects the traditional taboos. This type include no dressing, and the reversal of sex identity. Isolation and redrawal is the fourth type, which tries to distance itself from the ritual code of the day. This type is divided into dressing of the escape from time, and dressing of the escape from space. The first group of this type is characterized by nostalgia or futurism. An emphasis is given on ethnicity, naturalism, or a closed space within a city in dressing of the escape from space. In conclusion, it can be said that subcultural style puts the foremost importance on individual freedom. Since 1990s, the distinction between the subcultural styles and high fashion gets somewhat blurred, while the liberal, sexual, life stylistic tension between the two groups are heightened.

• Journal of the Korean Society of Costume
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• v.25
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• pp.249-268
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• 1995

Parody has recently prevailed as one of the important techniques of creation in art. The purposes of this study are to reaffirm the pos-ition of fashion as an art by clarifying parody depicted in fashion and to make an opportunity to reconsider the meaning of creation in fashion design through the significance of par-ody. For these purposes, documentary studies about parody in literature and art which had been discussed more often were preceded as a framework of this research. framework of this research. Basedd upon that, parody phenomena in fashion as well as art were analyzed. The synthetic results are as follows ; 1. Parody is a kind or critical technique and can be conceived as a process of creation. The established primary style (material) which is well-known and familiar is imitated and then is recreated in new manner through the three types of parodization, that is, the change of its external form, the change of its internal mean-ing and the shift from its place (i.e. displace-ment). 2. Parody in fashion is also analyzed based upon the three types of parodization which designer's will and expression is necessarily required. First, the parody through the change of external form is to have its effect of novelty, unexpectedness, playfulness, wit, mackery, satire, irony, paradox by changing the form of the original through imitation with similarity, transformation, exaggeration, em-phasis. Second, the parody through the change of internal meaning is to bring about paradox, irony, contempt, satire, unex-pectedness by applying the original to inappro-priate subject through its substitution, inver-sion. Third, the parody through displacement is to pursue a jarring incongruity that results from shifting the original to other context. Its effect consists of paradox, unexpectedness, playfulness, ridicule, mockery, satire, irony. In general, the parody technique in fashion can be used to have an intention of expressing seriousness, playfulness, satire, grotesque. The representative designers using the parody technique are Lagerfeld, Ricci, YSL, Yama-moto, Castelbajac, Gaultier, Mugler, West-sood, Steiner and so on. 3. Parody is the technique which imitates and then recreates the preceding style ; is at the same time the method which challenges the existing concept of originality-singleness and uniqueness. It reflects the more flexible concept of modern creation in art as well as fashion. The imitation as the creation, the characteristic of parody is recognized as an creative expressiveness, publicity, intention. Thus it differenciates from copy which is uncritical mimicry.

• Clinical and Experimental Pediatrics
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• v.57 no.1
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• pp.50-53
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• 2014

Hemophagocytic lymphohistiocytosis (HLH) occurs in the primary form (genetic or familial) or secondary form (acquired). The familial form of HLH (FHL) is a potentially fatal autosomal recessive disorder that occurs because of constitutional defects in cell-mediated cytotoxicity. Here, we report a fatal neonatal case of type 2 FHL (FHL2) that involved a novel frameshift mutation. Clinically, the newborn presented with severe sepsis-like features and required mechanical ventilation and continuous venovenous hemodiafiltration. Flow cytometry analysis showed marked HLH and complete absence of intracytoplasmic perforin expression in cytotoxic cells; therefore, we performed molecular genetic analyses for PRF1 mutations, which showed that the patient had a compound heterozygous mutation in PRF1, that is, c.65delC ($p.Pro22Argfs^*2$) and c.1090_1091delCT ($p.Leu364Glufs^*93$). Clinical and genetic assessments for FHL are required for neonates with refractory fever and progressive multiple organ failure, particularly when there is no evidence of microbiological or metabolic cause.

• The Southeast Asian review
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• v.20 no.3
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• pp.223-262
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• 2010

This paper has been written to find facts about the image of earth goddess broadly found in the Southeast Asia. The research findings are as follows: Firstly, the image of earth goddess wringing her hair is phenomenally discovered in both Buddhist temple murals and independent shrines in Thailand. This phenomenon is common in other Indochinese Buddhist countries such as Myanmar, Laos and Cambodia. Secondly, the life of Buddha including the story of the victory over Mara is found in such Buddhist canons as Mahavastu, Buddhacarita, Lalitavistara, Nidanakatha and Patamasambodhi. Among the canons, the story of the victory over Mara is described in differently ways. Earth becomes personified as the goddess in later version. The main cause to expel Mara's army also changes from sound to water. Patamasambodhi is most closely associated with the iconography of the earth goddess of Southeast Asia. Thirdly, Vessantara Jataka and Indian ancient customs tell us that a merit maker performs a rite of pouring water on the earth as an evidence for merit-making. This rite is a key to understanding the meaning of the scene where the earth goddess expels Mara's army into the flood by wringing her hair. The earth goddess is personified from the earth upon which the merit water is poured. Water soaked in her hair is the very holy water poured by the Buddha whenever he made a merit in his former lives. The amount of water flowed from the hair of the earth goddess representing the amount of his merit making was so huge and enough to defeat the Mara's army and for the Buddha to reach the Enlightenment. This legend explains the significance of the notion of merit in the Theravada Buddhist countries such as Thailand and Myanmar where the water pouring rites still take place and the images of the hair wringing earth goddess are commonly discovered. Fourthly, the first image of the earth goddess as the witness of merits for the Buddha appeared in some Gandharan Buddhist sculptures in the form of devotional gesture with her both hands pressed together and the upper half of her body above the ground. The appearance is in accordance with the description of her in the Lalitavistara canon. In later periods, the form changed into various types and finally the image of the earth goddess wringing her hair appeared in Southeast Asia around 11 century C.E. Some researchers argue this image form of the earth goddess shows the influence from China or India. However, the arguments are considered to be hypothetical as they have no strong evidence to prove. Finally, the modern image of earth goddess shows richer and more dynamic expression compared with its predecessors. Especially, outstanding is the standing earth goddess images found in the scene of the victory over Mara in many temple murals of central region of Thailand. The earth goddess in her voluptuous body shape is usually depicted as wringing her hair with her arms wide open in a posture of S curve. This appearance strongly reminds us of the postures of Salabhanjika and Tribhanga originated from Indian art. The adoption presumably has been made to signify her fertile and affluent characteristics.

• Journal of the Korea Convergence Society
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• v.12 no.11
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• pp.169-184
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• 2021

Recent advances in science and technology leveraged various artistic tools. Interactive art based on various media technologies became popular in a short period, and is widely appreciated as a new form of art. This new form of art has a different method of expression from traditional art such as painting or sculpture. It aims to strike a balance among the artist, audience, and piece of art through interaction between the work and viewers. Viewers can take part in the creation process, going beyond the conventional way of art appreciation. This paper analyzes interactive art production techniques based on human senses from the artist's perspective. "Simulation-experience model" will be suggested after looking at several example artworks. Charming, which was produced based on this model, will be introduced and its meaning will be analyzed. The objective of this paper is to predict the future of interactive art and changes in the art form by studying interactive art production techniques based on human senses. We believe that the prediction is helpful in understanding the artistic and technological value and the social influence of interactive art in the future.

• Korean Journal of Heritage: History & Science
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• v.55 no.2
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• pp.6-21
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• 2022

This paper examines the material culture of the Goryeo-Joseon Period through changes in the design and crafting of the earpick. In Chapter 2, terminology regarding earpicks is presented, and the culture of using earpicks is examined through fragmentary literature of the late Joseon Dynasty. Earpicks were first a personal hygiene tool, and, secondly, they played a symbolic role as a style accessory used by men, analogous to the fan carried by women of the time. In Chapter 3, earpick form are classified by period, and characteristic decorative techniques for each form are examined. During the Goryeo Dynasty, earpicks were sanitary tools, and, according to their form, they were classified into single and complex types. From Unified Silla to Goryeo, there is an angled type of connecting rod, and in the Goryeo period, there appeared earpicks with colorful decorations on the handle, completely forged earpicks with a thin and long shape, and earpicks which were part of multitools. Common decorative techniques include line expression, gold plating, cheophomun on the background, and inlay. Earpicks of the Joseon Dynasty are classified into sanitary tools or ornaments, according to their purpose of use. Sanitary tools are divided into single type and complex type, and earpicks used as ornaments include headdress, norigae, and sunchu. For earpick accessories, headdresses and norigae were used for women, and sunchu was used for men. The decorative techniques of earpicks during the Joseon Dynasty were mainly seen in the headdress earpicks. They were decorated with various colors in the Cloisonné method or bejeweled. Research on everyday tools among crafts is lacking; greater attempts to read the flow of time and approaches to material culture through everyday tools should be made.

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.131-138
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• 2019

The film enters the color film from black and white, and the screen image changes qualitatively. The color in the film not only has the reproduction function of the restoration object like the objective appearance, but also has the function of conveying different subjective emotions. It can express the color and can't express it. The artistic effect conveys the information content that the story itself can't convey, so the color of the film becomes an important part of the film language. The color in the film is presented on the screen in the form of single-screen color, scene color, full-color color tone, and various color chains designed according to different contradictions and conflicts. Because the film art and art means are assembled by montage, he colors in the picture also form a montage form. People call it "color montage". People's subjective nature of color criticism and acceptance of color language also depend on various local tones. The accurate expression of the relationship, the unique attribute of color determines that the color must enter the structural state in order to express its unique charm. The color of the film only has the real aesthetic value when it enters the level of "color structure". This paper studies the color of Chinese and Western films from the differences between the color thinking of Chinese and Western film directors and the cultural implication of Chinese and Western film colors. The western film director emphasizes the structure of color and pays attention to the use of tonal montage to convey the characters. Emotions reflect the characteristics of a subjective color. Beginning with the "fifth-generation" director of Chinese film, the new journey of film color language has been opened. In the process of blending love and scenery, the film style of "image-in-one" has been achieved.

• (The) Research of the performance art and culture
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• no.40
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• pp.163-192
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• 2020

Sinjungsin Mask Play, one of Ttangseolbeop, is related to Seongjusin's life story. Sinjungsin Mask Play is a reconstruction of the story of the folk gods Seongjusin met while returning home. Seongjusin's life story proceeds in the form of Mask Play, and the monk who leads the sermon plays narration and main roles. Many believers play various roles and musicians. Sinjungsin Mask Play introduces many folk beliefs, sounds for intrigue, and talks. Sinjungsin Mask Play uses the same method of enumeration and repetition as the existing Mask Play. The repetition of a sentence or phrase plays a role in foreseeing the meaning of the context or foretelling the development of the plot to the audience. This repetition is intended to emphasize the situation of the scene and to create rhythm. Since Mask Play was exclusively for the common people, Mask Play actors use the repeating method commonly used in folk songs to form lines. This gives the audience a familiarity, effectively communicating the lines and responding to their tastes. Sinjungsin Mask Play borrowed people's way of playing for the public's mission. It inherits the dramatic forms of traditional traditional plays such as repetition of words or sentences or phrases, codification of words or sentences, borrowing of existing songs, and formal expression units. In addition, through repeated performances, believers can easily and easily learn and understand. This is the dramatic form and characteristics of Sinjungsin Mask Play. Sinjungsin Mask Play was handed down from Faith Communities and was used as a means of folk cultivation to spread illegality. Buddhism externalizes the process of accepting folk beliefs through Mask Play, and in the case of Shinto who participated directly or indirectly, they naturally acquire the belief system of Hwaeom Kyung through play. Sinjungsin Mask Play, one of Ttangseolbeop, can be said to have great value as an ICH, as well as popularization and mission.

• Journal of the Korean Society of Costume
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• v.36
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• pp.183-203
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• 1998

The wave of Avant-garde swept away all in the unique social background so called 'October Revolution' and the early 1900 Russian society which was able to absorb and accept anything. The Russian avant-garde has been affected by the Cubism and the Futurism those had peculiarly appeared in the early twentieth century, spreaded out to three spheres: the Suprematism, the Rayonism and the Constructivism. The Russian Constructivism has appeared in this background, concretely and ideally ex-pressed the ideology of the revolution into the artistic form and made an huge influence to the whole Russian society. The Constructivist like Tatlin, naum Gabo, Pevaner, Rodchenko, Stepanova, Popova and Exter gave great effect on the Soviet Constructive fashion design in 1920's after the Revolution. The Soviet costume in 1920s hold in common the characteristicss of the Constructive graphic as it is, geometrical and abstractive form, energetic and motility. In fashion design, these graphic qualities have been showed as the application of geometrical form and architectural image, physical distortion and transformation. And in textile design, the simple, dynamical presentation has been appeared. We can classify the Soviet costume at this time into three occasions. The first term is from late 1910 th mid 1920, and it is altered from folk costume design to modern one. With Lamanova as the first on the list, using the folk mitif, the Constructive expression of simple form has been gradually revealed in design. Designers like Makarova, Pribylskaia and Mukhina produced the plane, simple chemise style with the decoration of the Russian traditional motif. From early to late 1920 is the second term, and it is at the pick of the most active processing of the Constructive design. Not only at the costume in daily life but also at the theatrical costume and textile, the con-structive design has been represented all avail-able fields. Many Constructivists including Stepanova, Popova, Exter and Rodchenko took part in the textile design and costume design so as to evlvo their aesthetic concept. The third term is from late 1920 to early 1930. The socialistic realism has dominated over the whole culture and art, the revolutionary dynamic motif has been presented also in textile design. The formative features of Soviet Constructive fashion design are; silhouette, from, motif, color and fabric. The first, the silhouette : a straight rectangular silhouetted has been expressed through the whole period and a volumed one with distorted human body shape has introduced in the theatrical costume design. The second, the form: many lengthened rectangular forms have been made at beginnings, but to the middle period, geometrical, architectural forms have been more showed and there are energy and movement in design. At the last period, only a partial feature-division has been seen. The third, the motif; no pattern or ethnic motif has been partly used at beginnings, a figure like circle, tri-angle has gradually appeared in textile design. At latter period, a real-existent motif like an airplane has been represented with graphing and simplicity. The fourth, the color ; because of insufficient dyeing, neutral color like black or grey color has been mainly covered, but after middle term, a primary color or pastel tone has been seen, contrast of the fabric; without much development of textile industry after the Revolution, thick and durable fabrics have been the main stream, but as time had going to the last period, fabrics such as linen, cotton, velvet and silk have been varously choesn. At the theatrical costume, new materials like plastics and metals that were able to accentuate the form. The pursuit of popularity, simplicity and functionalism that the basic concept of Constructive fashion is one of the "beauty" which has been searching in modern fashion. And now we can appreciate how innovative and epochal this Soviet Constructive fashion movement was.ement was.

• Tuberculosis and Respiratory Diseases
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• v.59 no.2
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• pp.142-150
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• 2005

Background : Continuous growth stimulation by various factors, as well as chronic oxidative stress, may co-exist in many solid tumors, such as lung cancer. A new family of antioxidant proteins, the peroxiredoxins (Prxs), have been implicated in the regulation of many cellular processes, including cell proliferation, differentiation and apoptosis. However, a real pathophysiological significance of Prx proteins, especially in lung disease, has not been sufficiently defined. Therefore, this study was conducted to investigate the distribution and expression of various Prx isoforms in lung cancer and other pulmonary conditions. Method : Patients diagnosed with lung cancer, and who underwent surgery at the Ajou Medical Center, were enrolled. The expressions of Prxs, Thioredoxin (Trx) and Thioredoxin reductase (TR) were analyzed using proteomic techniques and the subcellular localization of Prx proteins was studied using immunohistochemistry on normal mouse lung tissue. Result : Immunohistochemical staining has shown the isoforms of Prx I, II, III and V are predominantly expressed in bronchial and alveolar lining epithelia, as well as in the alveolar macrophages of the normal mouse lung. The isoforms of Prx I and III, and thioredoxin were also found to be over-expressed in the lung cancer tissues compared to their paired normal lung controls. There was also an increased amount of the oxidized form of Prx I, as well as a putative truncated form of Prx III, in the lung cancer samples when analyzed using 2-dimensional electrophoresis. In addition, a 43 kDa intermediate molecular weight protein band, and other high molecular weight bands of over 20 kDa, recognized by the anti-Prx I antibody, were present in the tissue extracts of lung cancer patients on 1-Dimensional electrophoresis, which require further investigation. Conclusion : The over-expressions of Prx I and III, and Trx in human lung cancer tissue, as well as their possible chaperoning function, may represent an attempt by tumor cells to adjust to their microenvironment in a manner advantageous to their survival and proliferation, while maintaining their malignant potential.