• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.1
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• pp.115-126
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• 2009

This study is about the iconological analysis on woman and clothes of Richard Avedon's and Cindy Sherman's constructed photographies which have questioned about life and existence of woman and present new visions about woman in comtemporary society and culture. The woman in R. Avedon's disguises herself with clothes, while the woman in C. Sherman's changes herself depending on the circumstances. R. Avedon reveals the inside of woman and ego with his gaze. The woman in his photography is reborn as another-self and communicates with the viewer through her eyes. C. Sherman has cast doubts with a woman's point of view in the way of making herself as an object in her works. C. Sherman has presented a new way of thinking about woman's body and ego. The viewer gives feminity and identity to the woman in C. Sherman's photography who has kept asking a question about woman-herself. The identity of woman in the photography has been changed depending on what she is wearing, what she is doing and where she is. Like this, the clothes which she puts on becomes another-self and also expresses life and dignity of the woman.

• Korean Journal of Child Studies
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• v.6 no.2
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• pp.73-84
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• 1985

The purpose of this research was to investigate the relationship between mothers' bsex-role attitudes and child-rearing values of independence granting and pressure for achievement, and also to examine variations in mothers' attitudes by sex of child. The subjects of this study were 260 mothers of preschool girls and boys. They were middle and high SES class and highly educated. The 20 item version of the Feminism Scale (FEM Scale) was used to measure mothers 'attitudes toward women's sex-role ideology. The Korean Sex-Trait Stereotype Measure was used to measure the mothers' sex-perception of masculinity and feminity. The 5-item translated Barnett Independence Granting Scale was used to measure independence granting. The 7-item version of the Barnett Pressure for Achievement Scale was used to measure mothers' pressure on their children for achievement. Data analysis consisted of Pearson's Product-Moment Correlation Coefficient and t-test. The results were: 1. Mothers' nontraditional sex-role ideology was significantly related to lower mean age of independence granting and to pressure for achievement. 2. Two self-perception scores (self-masculine and self-feminine) were not related to mean age of independence granting but were significant1y related to pressure for achievement. 3. The mean age of independence granting was lower for sons than for daughters. 4. Mothers put more pressure for achievement on sons than on daughters.

• The Journal of Natural Sciences
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• v.10 no.1
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• pp.153-174
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• 1998

It is based on variety imagination not in monotonous through after '95 fashion trend. Specially, in women's fashion coming back of the feminity with giving status and social advance. Renaissance fashion trend in these days trend. Among modern trend. We find decorative beauty in contemporary fashion trend. There are many expressions about deep and rich color and velvet material, exaggerated collar in ruff collar shape, and applied sleeves and stomacher

• The Research Journal of the Costume Culture
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• v.14 no.6
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• pp.1042-1055
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• 2006

The purpose of this study is to consider the formative characteristics of dance sports from such points of view as shapes, colors, material and decorations, and to examine artistic characteristics that are expressed through those elements. As a result, this study shows five artistic characteristics as follows; First, rhythmic characteristic is expressed with repeat of lines that is formed by pleats, shirring or gather, with duplication of ruffle's wave, with gradation of colors, with Moire-effect that is generated with overlap of see-through material, with glossy material that reflects lights to a great extent, with fringe. Second, bodily characteristic emphasizes the beauty of human bodies through direct or indirect body exposure by way of cut-and-open, see-throughness or close adhesion. Third, decorative characteristic is shown with beads, fringe, ruffle, embroidery, shirring, binding, or feather. Fourth, the beauty of female body is manifested to express eroticism, which is culminated by body exposure, body consciousness, use of illuminating or see-through material or colorful trimming. Finally, elegant characteristic is revealed through feminity, sophistication, and harmony that are expressed with black and white colors, see-through material, or bead trimmings.

• Journal of Yeungnam Medical Science
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• v.23 no.1
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• pp.1-9
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• 2006

Breast reconstruction provides dramatic improvement for patients with severe deformity. The reconstruction not only restores aesthetically acceptable breast for patients with mastectomy deformity but also recovers psychological trauma of 'losing feminity' after the cancer mastectomy. There are many options for breast reconstruction from simple prosthetic insertion to a flap operation using autologous abdominal tissue. The choice of operation method depends on the physical condition of the patient, smoking habits, and economic status. Among the many options, the method that uses the lower abdominal tissue is known as the TRAM (transverse rectus abdonimis myocutaneous) flap. Since the introduction of the TRAM flap in 1982 by Hartrampf, the art of breast reconstruction using lower abdominal tissue has been progressively refined to pedicle flap, muscle-sparinga TRAM flap, and recently there have been exciting and revolutionary changes associated with the adoption of the concept of perforator flap. This refined method of breast reconstruction utilizes lower abdominal tissue nourished by the deep inferior epigastric perforator (DIEP). With the DIEP free flap, almost all of the rectus muscle and anterior rectus sheath are preserved and the donor morbidity is minimized. Different from previous flap methods using lower abdominal tissue, DIEP free flap method preserves function of the rectus muscle completely. 1) Understanding the entire progression of breast reconstruction methods using lower abdominal tissue is necessary for plastic surgeons; the understanding of each step of the exciting progression and the review of the past history of the TRAM flap may provide insight for future development.

• Journal of the Korean Society of Clothing and Textiles
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• v.24 no.5
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• pp.724-735
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• 2000

The objectives of this study were to identify the dimensional structure of female impression formation based on silhouettes and necklines of wedding dresses, and to analyze the effect of silhouettes, necklines, and perceiver's gender on impression formation. The experimental design was 3$\times$6$\times$2 (silhouettes$\times$necklines$\times$gender) factorial design by 3 independent variables. Samples were 432 males and females. Four factors derived to account for the dimensions of impression formation. These were attractiveness, neatness, feminity, and prettiness. Dome silhouette had a positive effect on impression of attractiveness. Bell silhouette increased the impression of femininity and prettiness. Tubular silhouette had a negative effect on the impressions of attractiveness, femininity, and prettiness. Neckline had a significant effect on impression of attractiveness and negative on prettiness. Sweet-heart neckline has a positive effect on impression of attractiveness and negative on prettiness. Off-shoulder neckline increased the impression of prettiness. Round neckline decreased the impression of attractiveness. On the interaction effect according to the neckline and perceiver's gender, the men perceived high-necklines to be more feminine than did women, while the women perceived off-shoulder necklines to be more feminine than did men. There was interaction effect between silhouette and neckline on prettiness. In dome silhouette, heart-shape neckline was perceived to be prettier than the others, while in bell silhouette, off-shoulder neckline was perceived as prettier than the others.

• Korean Journal of Adult Nursing
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• v.25 no.6
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• pp.690-700
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• 2013

Purpose: Liver transplantation (LT) is the best treatment for patients with end-stage liver disease and most patients with LT return to their normal life. However, pregnancy and childbirth for women with LT are less common, mainly because it is considered to be dangerous for their health. The purpose of this study was to describe how Korean women after LT experience their pregnancy and childbirth. Methods: This study was designed to explore the experiences of pregnancy and childbirth of women with LT. Data were collected by individual in-depth interviews with four women who were pregnant and gave birth following LT in 2009. All interviews were audio-taped and transcribed verbatim. The transcribed data were analyzed using qualitative content analysis. Results: Four themes emerged as a result of analysis: recovery of lost feminity and marriage; fulfilling roles through pregnancy; life-risking pregnancy; and perfect family achieved by childbirth. These themes describe in detail about challenges and concerns the women with LT faced for their pregnancy and childbirth as well as many emotionally touching experiences. Conclusion: The results of this study would support health professionals to be better prepared to help women with LT for pregnancy and childbirth by providing in-depth and insightful information.

• The Research Journal of the Costume Culture
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• v.17 no.3
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• pp.431-446
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• 2009

The purpose of this study was to analyze the gender role changes of Korean women reflected on their costumes during 20th century. To analyze the diachronic gender role changes, social environments(education, job, economy, family systems, mass-media) of 20 th century were inquired by 10 years and comparatively analyzed with 680 images of representative costumes each periods. The results are as followed. 1) $1900s{\sim}1910s$: The most representative women's gender role was a wise mother and good wife. Therefore the adopted western costume, a symbol of civilization, were represented women as a passive and sexual object of man. 2) $1920s{\sim}1930s$: 'Shin Yeosung(Modern Girl)' was the representative gender role of that time. They were the symbol of enlightenment and new education. Their costumes influenced to the changes of traditional Hanbok in functional side. 3) $1940s{\sim}1950s$: In World War II. a strong and stubborn women were wanted to support their family. They threw feminity and changed their costumes into an active and functional 'Mombbe'. 4) $1960s{\sim}1970s$: Women asserted Gender equality and resisted the traditional women's gender role. Mini Skirts and Unisex costumes were symbolic costumes reflecting the changes. 5) 1980s: The self confidence of women's gender role affected the androgynous look and body-conscious look in modern fashion. 6) $1990s{\sim}2000s$: Now, the dichotomy of gender role is not no longer effective way to understand the social changes and fashion trend rather than personal characteristics and lifestyle trends.

• The Journal of the Korea Contents Association
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• v.16 no.8
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• pp.493-507
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• 2016

This study aims to examine the representations of elders in reality shows focusing on gender disparity by employing a textual analysis and audience interviews. According to findings, as for elderly men, various images are presented while as for elderly women, traditional gender images are mainly reproduced. In the audience reception, the audiences' understanding of genres and their preexisting gender perceptions have important roles on their interpretations in the ways of producing gender discriminated meanings.

• Fashion & Textile Research Journal
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• v.12 no.6
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• pp.821-829
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• 2010

The men's costume of eighteenth century showed feminine image of elegant decoration through the influence of social feminine atmosphere. As years go, heading towards the end of the eighteenth century, most of men's wear were simplified except vest, which had gorgeous decorations showing feminity. Therefore, men's vest of eighteenth was regarded as good item to apply to modern women's wear. The men's vest design of eighteenth century were divided into three types due to the passage of time, they showed the difference in the length, detail and trimming. Cutting lines in the modern fashion are used to give comfort and show the three-dimensional body silhouette. Also, cutting lines, as a decoration element, can define the costume's image and characteristics. Therefore, by using cutting lines, we can represent historical costume as modern costume and men's wear as women's wear. I made five women's costumes applying design characteristics of the men's vest of the eighteenth century. These five women's costumes have decorative aspect of men's vest of eighteenth century and simple aspect of men's costume. I applied dart manipulation in several different ways to make various cutting lines for women's costume. These cutting lines were emphasized by matching various colors and patterns of fabrics. I made small buttons and cords of these various fabrics. I sewed fabric buttons on five costumes for the purpose of function and decoration like buttons of the men's vest of eighteenth century. I applied fabric cords to decorate five costumes in various way. We should further study how to express important characteristics of historical costumes as modern costume in many ways.