• Journal of the Korean Home Economics Association
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• v.44 no.6 s.220
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• pp.23-34
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• 2006

Graffiti has been recognized as an art form since the influence of free, black culture and Neo-Expressionism in the 1980s, though Graffiti remains the subject of controversy both inside and outside the school Modem Art. Jean Michel Basquiat is the most famous Graffiti artist of the '80. He was regarded as the genius and star of American art, leaving a lot of experimental and creative works during his short, 9-year, creative period. In his works, Basquiat well expressed the isolated and dark shadows in the U.S., the pursuit of self identification, the purpose of expression and the epochally social phenomenon. The purpose of this study is to investigate the application of Jean Michel Basquiat's Graffiti to fashion painting. To achieve this purpose, we present a lot of fashion painting works which apply Jean Michel Basquiat's Graffiti by focusing on autographic experience, racialism, cartoon themes, monely value, and anatomical death in the characteristics of Basquiat's works. Through this process, we can express and apply Basquiat's Graffiti to fashion painting by analogizing the themes and modeling the methods of his works, such as childish and simple features, intentionally wrong spellings and sentences, and symbols of death including skeletons, intestines, bones and teeth. In addition, Basquiat's techniques are examined in this study, including the representational handling of a brush, primitive and strong colors, and maximized shape. This study found that fashion painting can juxtaposes art and fashion by expressing Jean Michel Basquiats' Graffiti.

• Journal of the Korean Society of Costume
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• v.54 no.7
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• pp.63-78
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• 2004

The purpose of this study examines the characteristics of the Techno-Cyber fashion in modern fashion, and especially, how the make-up in the Techno-Cyber fashion is expressed artistically, and finally how much the make-up has its aesthetic value and significance. This study has its meaning in studying the relationship between the Techno-Cyber fashion and the make-up. Further more, the study has its significance in that it is possible to consider the interaction of the make-up by the fashion trend. The way of the study is to analyze its features that are shown in the documents of the inside and outside of the country. the study precedent, the technical journal, and the fashion picture. And also the study refers to the related contents in the searching for internet. The aesthetic characteristics of the expressed make-up is shown with the various aesthetic styles, as follows : First, the future-oriented characteristics is shown as the expression of the metallic make-up that emphasizes the glitter and glossy texture, and of the transparent make-up that emphasizes the simplicity of the body. Second, the surrealistic characteristics is expressed to the collage make-up that expresses the unexpected character with the introduction of the special materials and the position changing and the graphic make-up that destroys the standardized form. Third, the anti-cultural characteristics is expressed to the Cyber-Punk make-up that expresses the destructive and challenging image. Finally, the compromise characteristics is shown in the Ethno make-up combined the concept of the ethnic with the high technology and the Androgynous make-up which destroys the bounds of the sex.

• Journal of the Korean Society of Costume
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• v.59 no.1
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• pp.77-93
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• 2009

The purpose of this study is to analyze on the fashion collection of Hussein Chalayan who has changed the concept of fashion design in the 21st century and has pioneered in the new vision of fashion. This study will give a new perspective and perception of fashion as a conceptual and ideological art. The conclusions of this study are as follows. First, Hussein Chalayan's multicultural ideas and interdisciplinary approaches which based in national speciality are the unique elements in his works. Second, Hussein Chalayan intends to present his works as an expression of conception. He has expressed the clothes which speaks the form of nature, symbolizes the combination of culture, visualizes time and space and investigates the existence of human being. Third, Hussein Chalayan has asked an endless question about existence of the human being. Furthermore, He has put a question about the relationship between time, space, history, nature and the human being. His trial to visualize the metaphysical conception of 'ego' and 'self' through his works of art makes him as the designer who represents the 21st century. Forth, Hussein Chalayan pursues the communication between the human being and the world. His works is made for human being and makes the human life as valuable thing. Because the clothes is completed when the human wears it, it can not exist without the relationship of human being. Fifth, Hussein Chalayan makes a various attempt to combine with different artistic field. Fashion has developed to new direction with diverse trial and combination beyond fashion field and this has to be a direction in the 21st century fashion. Fashion is not just making clothes, but accepting and delivering the history and culture, expressing and communicating empathy, and combining the different fields harmoniously.

• Molecules and Cells
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• v.27 no.3
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• pp.279-282
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• 2009

"Two-cysteine" peroxiredoxins are antioxidant enzymes that exert a cytoprotective effect in many models of oxidative stress. However, under highly oxidizing conditions they can be inactivated through hyperoxidation of their peroxidatic active site cysteine residue. Sulfiredoxin can reverse this hyperoxidation, thus reactivating peroxiredoxins. Here we review recent investigations that have shed further light on sulfiredoxin's role and regulation. Studies have revealed sulfiredoxin to be a dynamically regulated gene whose transcription is induced by a variety of signals and stimuli. Sulfiredoxin expression is regulated by the transcription factor AP-1, which mediates its up-regulation by synaptic activity in neurons, resulting in protection against oxidative stress. Furthermore, sulfiredoxin has been identified as a new member of the family of genes regulated by Nuclear factor erythroid 2-related factor (Nrf2) via a conserved cis-acting antioxidant response element (ARE). As such, sulfiredoxin is likely to contribute to the net antioxidative effect of small molecule activators of Nrf2. As discussed here, the proximal AP-1 site of the sulfiredoxin promoter is embedded within the ARE, as is common with Nrf2 target genes. Other recent studies have shown that sulfiredoxin induction via Nrf2 may form an important part of the protective response to oxidative stress in the lung, preventing peroxiredoxin hyperoxidation and, in certain cases, subsequent degradation. We illustrate here that sulfiredoxin can be rapidly induced in vivo by administration of CDDO-TFEA, a synthetic triterpenoid inducer of endogenous Nrf2, which may offer a way of reversing peroxiredoxin hyperoxidation in vivo following chronic or acute oxidative stress.

• The Journal of the Korea Contents Association
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• v.10 no.2
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• pp.184-192
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• 2010

In the current so-called age of emotion marketing, the independent form of handwriting of calligraphy is being revitalized in various fields such as advertising, book designs, film titles, posters, packages, BI, and even fashion. Thus centered on Gyeyang-gu at the city of Incheon, 100 outdoors signs that used calligraphy were chosen and we researched a reform plan that could revitalize calligraphy in outdoor signs by classifying them according to current conditions of the use of calligraphy, actual conditions of practical use, expression tools, and analyzing the use of colors. The result was trial requests not only from the formalities industry, but also the financial sector, public corporations, and several other businesses, but in order to provide not only for franchise brand logotypes manufactured by expensive experts, but also provide production of high-quality calligraphy for low costs for small private enterprises, the development of a diverse calligraphy education program, centered on the regional society, will be needed. In the midst of globalization, in order to advertise the beauty of Korean alphabet and to create our own unique street culture, a variety of tools and tactile expressions are demanded, in the future the research on the calligraphy of outdoor signs must be revitalized.

• Journal of the Korean Society of Costume
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• v.25
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• pp.5-20
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• 1995

The fashion of late Yi dynasty had explored a possibility of new fashional beauty from its own experiences throughout the history of Korean fashion excluding any interference of foreign fashions, and brought out some characteristics ; first, the aesthetical value focused on the more human fashion resulted in the exposure of waist. This aesthetical change in the fashion of late Yi dynasty produced out results as follows ; the length and width of jacket became short and narrow maintaining the basic form, while the width of skirt became increased to be contrasted exceptionally with the upper coat. This mode of fashion reveals the transitional movement from the emphasis on balance to that on unbalance in the late period of Yi dynasty. But regarding the fact that the proportional change by the ways of putting on skirt became to be similar to the golden ratio, we can see many examples throughout the folk paintings by Shin Yun bok, we find that the fashional beauty of that age pursued ideal harmony and unity all the time being in spite of its tendency toward non-refinement. Second, we see another peculiarity in the mode of woman's fashion from the paintings by Shin Yun-bok who always depicted the hu-man nature frankly. For example, the jacket became shorter to emphasize lady's slim waist, and underwears began to be exposed after the upper part of skirt had been to expose lady's waist while the bottom line pulled up highter than before. Thus, as the function of robe had changed from a mere means of covering into an expression of beauty, the fashion of late Yi dynasty began to express a perfectly new beauty possessing an erotic mood and sensu-ality of a woman, which was its inner aesthetic need. Third, this emergence of new fashional beauty made the mental value of man and the aesthetic views of that time quite different from the previous ones, and finally there came various expressions of a new beauty. There-fore, the woman's fashion of late Yi dynasty is noted for the exposure and emphasis on the body line of a woman after the aesthetic view-point had changed of time toward pragmatism and humanism, while upholding the traditions of Korean clothes and pride for the nation. And our ancestors realized very Korean fashional beauty by pursuing the expressional ways of gentle, indirect emphasis upon the feminine and natural beauty to exclude and ar-tificial, direct and straightforward exposures and images.

• Journal of the Korean Society of Costume
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• v.50 no.2
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• pp.125-140
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• 2000

The major findings of basic women wear in genre painting were ; 1. Due to the influence of Shill-Hak (practical science) philosophy, Jeogori became shorter and a tighter fit came to be the norm. 2,. The shortening of the Jeogori influenced a longer Chima with a wider span providing comfort in movement or at work. The end of the skirt was often held by one hand to the waist adding to comfort. This was called the Go-dul-chima(Lifted Chima). 3. Because the Geo-dul-chima exposed a portion of one underwear at the bottom of the dress this influenced the "irnamentation' of underpants and underskits. 4. Collars or lapels came in the form of Dang-ko, Kal, Mok-pan and Ban-Mokpan. Among there Dang-ko style collars were the most common which allows us to conclude that this was the most popular. 5. The most commonly used colors for Jeogori were white (39.8%) and jade(18.3%) . The most commonly used colors for CHima were deep blue(34.4%) and jade(20.4%) . The lower Chima used the darkercolors to give stability to the overall costume. 6. Clothing had the function of differentiating the classes. Only the Yang-ban were allowed to wear the Samhijang Jeogori and the Gob-Chima(double layered Chima) and the knotting of the Chima to the left. But the painting show that these rules were not adhered to in the strictest manner. With the bases of these types of chima and Jeogori can look at the characteristical beauty of the ordinary women during the late Cho-sun dynasty. First is the beauty which comes from mystery of those parts of body which can not be seen. A sense of subtle and sensual beauty as well as that coming from the enlargement of reduction of the upper body, narrow waist and abundant lower body parts creating an ideal silhouette of sexual charm. An expression of emotion through clothing by those who lived during those times.

• Journal of the Korean School Mathematics Society
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• v.7 no.2
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• pp.81-97
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• 2004

This paper is a study on the understanding process of「Matrix and Graph」on discrete mathematics using TI-92 calculator. For this purpose, we investigated the understanding process of two middle school students learning the concepts of matrix and graph using TI-92 calculator. In this process, we collected qualitative data using recorder and video camera. Then we categorized these data as follows: students' attitude related to using technology, understanding process of meaning, expression and operation of matrix and graph, mathematical communication, etc. From this, we have the following conclusions: First, students inquired out the meaning and role of matrix by themselves using calculator. We could see that calculator can do the role of good learning partner to them. Second, students realized their own mistakes when they used calculator on the process of learning matrix. So we found that calculator could form the self-leading learning circumstance on learning matrix. Third, calculators reinforce the mathematical communication in learning matrix and graph. That is, calculator could be a good mediator to reinforce mathematical communication between teacher and students, among students on learning matrix and graph.

• Archives of Plastic Surgery
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• v.40 no.6
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• pp.715-720
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• 2013

Background Many people have an interest in the correction of facial scars or deformities caused by trauma. The increasing ability to correct such flaws has been one of the reasons for the increase in the popularity of facial plastic surgery. In addition to its roles in communication, breathing, eating, olfaction and vision, the appearance of the face also plays an important role in human interactions, including during social activities. However, studies on the importance of the functional role of facial appearance. As a function of the face are scare. Therefore, in the present study, we evaluated the importance of the functions of the face in Korea. Methods We conducted an online panel survey of 300 participants (age range, 20-70 years). Each respondent was administered the demographic data form, Facial Function Assessment Scale, Rosenberg Self-Esteem Scale, and standard gamble questionnaires. Results In the evaluation on the importance of facial functions, a normal appearance was considered as important as communication, breathing, speech, and vision. Of the 300 participants, 85% stated that a normal appearance is important in social activities. Conclusions The results of this survey involving a cross-section of the Korean population indicated that a normal appearance was considered one of the principal facial functions. A normal appearance was considered more important than the functions of olfaction and expression. Moreover, a normal appearance was determined to be an important facial function for leading a normal life in Korea.

• Biomolecules & Therapeutics
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• v.4 no.1
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• pp.103-109
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• 1996

To investigate the effect of the third intracellular loop (i3 loop) peptide of human $\beta$$_2$-adrenergic receptor on receptor agonist binding, we expressed third intracellular loop region of human $\beta$$_2$-adrenergic receptor as glutathione S-transferase fusion protein in E. coli. DNA fragment of the receptor gene which encodes amino acid 221-274 of human $\beta$$_2$-adrenergic receptor was amplified by polymerase chain reaction and subcloned into the bacterial fusion protein expression vector pGEX-CS and expressed as a form of glutathione-S-transferase (GST) fusion protein in E. coli DH5$\alpha$. The receptor fusion protein was identified by SDS-PAGE and Western blot using monoclonal anti-GST antibody. The fusion protein expressed in this study was purified to an apparent homogeneity by glutathione Sepharose CL-4B affinity chromatography. The purified i3 loop fusion proteins at a concentration of 10 $\mu\textrm{g}$/ι caused right shift of the isoproterenol competition curve of [$^3$H]Dihydroalprenolol binding to hamster lung $\beta$$_2$-adrenergic receptor indicating lowered affinity of isoproterenol to $\beta$$_2$-adrenergic receptor possibly due to the uncoupling of receptor and G protein in the presence of the fusion protein. The uncoupling of receptor and G protein suggests that i3 loop region plays a critical role on $\beta$$_2$-adrenergic receptor G protein coupling.