• 조형예술학연구
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• 제2권
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• pp.161-192
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• 2000

Body has been high-lightened as one of the most important theme since the philosophy and the arts are focused on it in the late 20th century. It would be of worth to study the characteristics of contemporary fiber-art works, especially done by Abakanowiz who has been regarded as a dominant pioneer in the contemporary fiber-arts from the viewpoint of inter-grade of the physicals and the mental. This paper, therefore, deals with the Abaknowiz' works in the context of human body and body-signs. Life and works might be classified into 5 stages: first, learning period since her birth in 1930, second, creation period of Abakans, third, remodelling period of Abakans, fourth, composition and dissolution period of Abakans and the last and fifth, new transformation period of Abakans. 'Abakans' through her whole life as an artist have been a plastic language and based ultimately on external human body but in various materials and forms. Abakan as a human-sign uses the past experiences and the texts of the other world in mixed and overlapped forms. Life-size Abakans by Abaknowiz can be easily understood as Abakanowiz herself and her Polish ancestor at the same time. The neuter Abakans with mashed face and obscure body is a expressive figure of coexisting world with opposite concepts like war and ideology, anxiety and freedom, man and woman, and etc. Human body as body-sign is an extensive image has existed since our forefathers and overlapped with the inter textual and the popular images. 'Abakans' that is our world and inner-self at the same time might be a window through which she tries to show what the world is.

• 디지털융복합연구
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• 제15권12호
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• pp.563-571
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• 2017

본 연구는 디지털 환경에 적용될 수 있는 디지털 눈 콘텐츠의 감성 표현 요소를 정립하는데 목적이 있다. 특히, 스마트 인형의 적용 가능한 감성을 도출하고, 각 감성에 대한 표현 요소의 가이드라인을 제안하고자 한다. 본 연구를 위하여 첫째, 문헌 정보, 애니메이션, 실제 사람의 영상을 바탕으로 눈으로 표현되는 감성 표현에 대한 개념 및 특징을 연구한다. 둘째, FGI를 통해 스마트 인형의 디지털 눈에 필요한 6가지 감정 -Happy, Angry, Sad, Relaxed, Sexy, Pure-을 정의하고, 각 감성에 따른 표현 요소를 추출하였다. 셋째, 추출된 요소를 분석하여 디지털 눈의 감성 표현에 대한 가이드라인을 정립하였다. 연구 결과 각 감성을 구분하고 표현하기 위한 요소는 눈매, 시선, 홍채 크기, 특수 효과의 총 4가지로 나타났고 각 감성 별로 구분되는 요소별 정의와 특징을 도출하였다. 얼굴 표정에 있어서 가장 중요한 요소인 눈에 대한 감성 표현 연구는 애니메이션을 포함한 디지털 콘텐츠와 로봇, 스마트 인형 등의 감성 커뮤니케이션 효과를 높일 수 있는 방법으로 활용될 수 있을 것이다.

• 복식
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• 제60권9호
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• pp.1-15
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• 2010

Fashion designer Jean Paul Gaultier incorporated his own boundless and unique artistic Into his design of dance costumes, presenting an unobstructed imaginary world that was filled with freedom, which is no less than one would expect from the one-time enfant t${\'{e}}$rrible of Paris fashion. This creativity of Gaultier was made possible only through the fantastic partnership he formed with the French modern dancer, R${\'{e}}$gine Chopinot. Gaultier and Chopinot shared a deep-rooted sympathy that enabled their own artistic worlds to fully mingle and cross over, resulting in a doubled synergy of their talent and their fame. This study analyzed 11 dancing costumes created through the collaborated efforts of those two enfants t${\'{e}}$rribles, one from the fashion industry and the other from the world of dance. The following are the results of my analysis. Gaultier's dance costumes served as a artistic venue for experimenting with a number of creative inspirations lurking in his mind, which were sometimes expressed in pr${\^{e}}$t-${\`{a}}$-porter collections. Instead of the decorative and expressive features of conventional dance costumes, his was the revival of the dancer's persona as a human being, ablaze with individuality and uniqueness. He pointed out that there is no good in the distorted turturro's fixed point of view, and the great joy of an opposing way of thinking that overturned the established. Leotard material was used as a second skin by transforming it into various styles and delivering his message. In addition, obscene and sexual expressions were delivered in a direct narrative. His eccentric ideas provided entertainment while showing his oppositional way of thinking. In the dance, the effect of the costumes was doubled by the use of cumbersome and exaggerated accessories, which is generally forbidden in modern dance.

• 한국언론정보학보
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• 제71권
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• pp.157-193
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• 2015

이 연구는 20대 후반에서 30대 초반 여성들의 명품 가방 소비를 통해 이들 세대가 경험하는 한국 사회를 비판적으로 독해하고자 하였다. 그간 명품 소비에 관한 기존의 연구에서 주목해 왔던 요소들은 기호와 상징으로서 명품의 가치와 소비자의 특성, 계급적 정체성, 혹은 이상적인 자기 이미지 구성 차원의 표현적 행위 등에 관한 분석에 국한된 측면이 존재한다. 이 연구는 이러한 요소들을 다루면서, 동시에 일상을 영위하고 구성해 나가는 삶의 양식과 실천, 기회와 한계란 측면에서 이들의 소비를 고찰함으로써 현상적으로 드러나는 개인적 소비 이면의 사회구조적 맥락에 대한 이해를 확장하고자 하였다. 특히 연구 대상자들의 삶에서 명품 가방이 미디어로 재현되는 방식에 주목해, 그것이 다시 소비로 순환되는 과정을 통해 자본주의적 일상과 주체, 그리고 사회에 관해 성찰적으로 논의하고자 하였다.

• 한국콘텐츠학회논문지
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• 제13권9호
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• pp.260-269
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• 2013

오늘날 남성노인들은 급변하는 세태에 적응해가면서 성역할정체감의 위기를 경험할 수 있으므로 이들의 관점에서 성역할정체감을 이해하기 위해 그 유형과 특성을 파악하고자 하였다. 주관적이고 개별화된 경험으로서의 성역할정체감을 확인하기 위해 Q 방법론을 적용하였다. 남성성과 여성성을 나타내는 40개의 Q표본을 이용하여 40명의 남성노인을 대상으로 자료 수집 및 분석을 실시하였다. 남성노인의 성역할정체감은 다음 네 가지 다양한 유형으로 확인되었다. 파워 표출형은 전통적인 남성성의 특성을 나타내는 유형으로 일을 추진함에 있어서 박력이 있으며 용감하고 지배적인 성향으로 카리스마를 겉으로 표출한다. 파워 과묵형 남성노인은 독립심이 강하고 소신이 있으나 이를 드러내기 보다는 묵묵히 행동으로 표현하는 성향을 지니고 있다. 파워 온정형 남성노인은 추진력 있게 큰 일을 잘 처리하며, 부드러운 성향의 소유자이다. 온정 돌봄형 남성노인은 가정과 아이를 돌보는 것에 보람을 느끼며, 남을 먼저 생각하는 이해심과 참을성이 있으며, 유순하고 부드러운 속성을 지니고 있다. 본 연구에서 분류된 노년기 남성의 성역할정체감 유형에 대한 결과를 바탕으로 성역할정체감 유형 별 심리사회적 적응양상, 건강행위, 신체 건강과 정신건강상태에 미치는 영향을 규명하는 연구가 필요하다.

• 패션비즈니스
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• 제18권3호
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• pp.73-90
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• 2014

Paper, once known and used only as a medium for printing or handicrafts, is now being used in new fields including artistic clothing, and an environment-friendly material for fashion, while the functionality of its formative characteristics and esthetics have been newly highlighted. On this basis, this study performed a content analysis of paper couture and categorization of types of paper modeling techniques based on 904 paper couture submitted to paper fashion shows, exhibitions and contest exhibits from 2001 to 2013. Analysis results showed that paper textile types were most common at 86.64%, while techniques using laminating, bonding, overlapping or paper as-is represented 62.17%. Expressive techniques in which paper was cut or torn and attached to paper clothing was 11.62%, paper folding was 5.75%, drawing and coloring 4.65%, and finally, paper cutting was 2.65%. Meanwhile, among paper modeling techniques using paper yarn textiles, a paper weaving technique was 6.75%. Moreover, other techniques in which paper modeling techniques or subsidiary clothing was blended were 3.65%, and Dak peeling textiles were 1.33%. Paper paste moulding textiles types represented 1.44%, above all papier $m{\hat{a}}ch{\acute{e}}$ techniques of 0.55% and creasing and holding techniques were 0.88%. Paper is sufficient to express the artists' creativity as well as having qualities as an artistic medium, such as variability through combined use with other materials, variation in form, suitability for reuse of waste paper, and environmental friendliness. Also, various paper modeling techniques can be blended with textiles for a generalized technology that overcomes the limits of paper and textiles.

• 한국의상디자인학회지
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• 제21권1호
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• pp.163-180
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• 2019

A pattern is a symbolic mark of the psychological expression and ornamental desire of the human interior. In particular, plant patterns, from ancient times to modern times, express beauty across both the east and the west. The Joseon dynasty had a strong national will, and it was a time when the symbolism of Korea was established. Plant patterns were decorative and symbolic, filled with meaning in both the textile and craft sectors. This study looked at the frequency and figurative characteristics of the types of plant patterns in textiles, ceramics, woodworking, and metal craftsmanship of the Joseon dynasty. In addition, pattern designs were developed by extracting unit patterns to maintain the original shape, and by adding, magnifying, reducing, and superimposing flat steps and employing the four-fold sequence. The data collected was 826 examples in textiles and crafts, and 34 species of plants were analyzed as follows. In general, the flower patterns preferred soft flowers, flowers, apricot, and peony patterns, and fruit patterns emerged as decorative designs for pottery and woodwork from the 17th century, featuring pomegranates, grapes, fluorines, peaches, and walnut floss. Textiles and woodwork were arranged with many circular designs, while pottery and metal crafts were filled in many ways. Expressive types appeared to be the same as stylistic types for textiles and ceramics, and the construction types were the same in pottery and metal crafts. As such, it was found that even in the different areas of the sculpture, the same aesthetic values were reflected in the common figurative features today. Therefore, in this study, we developed a unique and competitive pattern design that accommodates the modern times and the Joseon dynasty. This development is expected to contribute not only to the development of cultural and tourism products in the future, but also to the tourism industry induced by the Korean wave.

• 한국수학교육학회지시리즈A:수학교육
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• 제58권2호
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• pp.225-237
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• 2019

수학 교과의 그림은 내용의 핵심을 잘 전달하면서 한편으로는 수학의 어려움을 완화시켜주는 복합적인 역할을 해야 한다. 본 연구는 그림과 글의 상호 보완적 관계, 그리고 그림의 감정 표현이라는 두 요소를 초등학교 수학 교과서 그림과 내용의 연계성을 보는 관점의 예로 제시하고, 중국, 일본, 인도, 미국 등의 외국 교과서를 이 관점에서 조사하여 우리나라 교과서 그림 제작에 대한 시사점을 얻었다. 이는 그림을 읽고 의미를 해석하는 과정을 수학 공부의 일부로서 다루어야 한다는 것, 등장인물이 가진 개성과 감정을 더욱 풍부하고 자유롭게 표현해야 한다는 것 등이다.

• 말소리와 음성과학
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• 제13권4호
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• pp.55-66
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• 2021

읽기와 관련된 운율은 내용의 전체적인 맥락에 연결되어 독자가 전달하고자 하는 의미를 자연스럽게 표현할 수 있도록 음도, 강도, 발화속도 등의 변화로 나타난다. 읽기장애아동은 자연스러운 운율을 사용한 읽기에 어려움이 있어 표현력 있게 정보를 전달하지 못하는 경향이 있다. 이와 관련하여 본 연구는 문장 유형에 따른 읽기 과제를 통하여 읽기장애아동 집단과 일반아동 집단 간의 운율 특성 차이를 규명하였다. 초등학교 3-6학년 읽기장애아동 15명, 일반아동 15명을 대상으로 통사적으로 다양한 문장 유형(단문, 의도, 가정/조건, 관형절 내포문)에 따른 읽기 과제를 실시하였다. 읽기장애아동은 일반아동에 비해 음도 범위가 넓었으며 읽기 속도와 조음 속도가 느렸다. 또한 휴지 빈도가 높았으며 전체 휴지 지속시간도 길었다. 읽기장애아동은 문미 억양구와 문장 내 어절 단위 음도 기울기에서 일반아동에 비해 기울기 값이 컸으며 이상의 내용은 모두 통계적으로 유의하였다. 결과적으로 문장 유형에 따른 읽기 과제에서 읽기장애아동은 일반아동에 비해 자연스럽고 표현력 있는 읽기에 어려움을 보였다. 본 연구를 통해 읽기장애아동의 운율 특성을 파악하였고, 효과적인 중재를 위한 접근 방법의 필요성을 제시했다.

• Journal of the Korean Academy of Child and Adolescent Psychiatry
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• 제33권2호
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• pp.35-40
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• 2022

Objectives: Restricted and repetitive behaviors (RRBs) are a core symptom in the diagnosis of autism spectrum disorder (ASD). The complexity of behavioral patterns has called for the creation of phenotypically homogeneous subgroups among individuals with ASD. The purpose of this study was 1) to investigate the different types of RRBs and 2) to explore whether subgroups created by RRBs would show unique levels of functioning in toddlers and young children with ASD. Methods: A total of 313 children with ASD, aged 12-42 months were included in the analysis. The Autism Diagnostic Interview-Revised was used to obtain information on the different types of RRBs by grouping 15 items into six categories. The Vineland Adaptive Behaviors Scale, a parent-reported questionnaire, was used to measure adaptive functioning. A portion of the children were analyzed separately for verbal-related RRBs based on their expressive language level. Two-step cluster analysis using RRB groups as features was used to create subgroups. Analysis of covariance while covarying for age and language was performed to explore the clinical characteristics of each cluster group. Results: Sensory-related RRBs were the most prevalent, followed by circumscribed interests, interest in objects, resistance to change, and repetitive body movements. A subset of the children was analyzed separately to explore verbal-related RRBs. Four cluster groups were created based on reported RRBs, with multiple RRBs demonstrating significant delays in adaptive functioning. Conclusion: Heterogeneity of RRBs emerges at a young age. The different patterns of RRBs can be used as valuable information to determine developmental trajectories with better implications for treatment approaches.