• 디지털융복합연구
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• 제17권3호
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• pp.73-78
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• 2019

최근 신기술 기반의 새로운 제품이나 서비스를 규제 제약 없이 사업화를 진행 할 수 있도록 기존 규제의 유예 또는 면제를 시켜주는 한국형 규제 샌드박스(Sandbox) 제도의 도입 필요성이 제기되고 있다. 이에 정부에서는 산업융합, ICT, 핀테크 및 지역혁신성장 등 4개 분야를 중심으로 규제 여부를 신속히 확인하고, 일정한 조건(구역 기간 규모 등)을 설정하여 실험 실증과 시장출시를 허용하도록 관련 법령을 정비하고 있다. 그러나 동일한 규제 샌드박스가 적용됨에도 불구하고 적용되는 분야의 특성에 따라 신청주체, 규제특례의 적용여부, 의사결정 추진체계 및 재정 세제 지원여부 등의 차이점이 보인다. 본 연구는 규제 샌드박스가 적용되는 산업융합 분야의 산업융합촉진법, ICT 분야의 정보통신융합법, 핀테크 분야의 금융혁신법 및 지역혁신성장 분야의 지역특구법을 중심으로 비교 분석하여, 한국형 규제 샌드박스의 성공적인 안착을 위한 효율적인 운영방안을 제시하였다.

• 복식문화연구
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• 제28권4호
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• pp.420-428
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• 2020

This study analyzed the expression of hanbok in online fashion styling games, and examined the main themes of and user reactions to hanbok fashion styling games through semantic network analysis and sentiment analysis. KrKwic, Textom, and NodeXL were used for data collection and analysis. The findings of the study are as follows: First, depending on the designer's expressive method, hanbok fashion styling games provide typical traditional hanbok, modern hanbok, and dress-like fusion hanbok, demonstrating contents with various themes for different sexes, classes, and situations. Second, as a result of analyzing the themes of hanbok-related styling game contents, it turned out that the main themes are tradition, color, historical drama, fusion hanbok, holiday, and love. Most of them produce modernized hanbok that reflect the situation and utility rather than strictly traditional ones. Third, as a result of analyzing user reviews of hanbok styling game contents, positive factors mostly turned out to be the satisfaction of the hanbok contents, with the users also showing positive intent to wear hanbok. Through this, it was found out that hanboks portrayed in game contents could potentially cause the user's positive intent to wear hanbok. Negative factors turned out to be the discordance between the intrinsic image of hanbok and the game character's image.

• 한국의류산업학회지
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• 제17권5호
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• pp.793-799
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• 2015

Hanboks have evolved throughout time; for example, the curved Barae has changed into a more modern and sophisticated straight one. The development of staining techniques has increased color selections with more luxurious designs. I suggested a design of Dolbok that considers functionality, practicality and economic feasibility through a comparison of past and present designs. I suggested a fusion Hanbok based on a traditional Dolbok for baby boys and girls. An abundance of cheap resources has decreased the tradition of hand down clothes; therefore, I created functional and economic methods to adjust a Hanbok for kids to wear a long time. First, I made it possible to adjust the length of a skirt by a slip stitch (or catch) stitch with a Seurandan (ornate lower band) and placed the button on shoulder part of the skirt for baby girls. The width of skirt is designed for a 4 year old instead of 1 year old to adjust the size and compensate for growing kids; however, the clothes still look stylish despite the overlapped area. Second, I made a baby boy's vest with a belt that follows traditional methods that were comfortable for width variation. Third, I made Geodeulji (sleeve-ends trimmed with wide bias) that enabled long or short sleeves. Geodeulji made with a variety of fabric colors will enhance the decorative effect. Fourth, I made the width of clothes adjustable by putting Korum (tie) ON Jeogori for baby boys and girls. There are many studies on Hanboks but few reports on modern Dolbok. I believe that designers should further study fusion Hanboks within framework of traditional Hanbok designs to increase comfort and appeal.

• Journal of Korean Neurosurgical Society
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• 제51권1호
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• pp.20-23
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• 2012

Objective : To compare radiographic analysis on the sagittal lumbar curve when standing, sitting on a chair, and sitting on the floor. Methods : Thirty asymptomatic volunteers without a history of spinal pathology were recruited. The study population comprised 11 women and 19 men with a mean age of 29.8 years. An independent observer assessed whole lumbar lordosis (WL) and segmental lordosis (SL) between L1 and S1 using the Cobb's angle on lateral radiographs of the lumbar spine obtained from normal individuals when standing, sitting on a chair, and sitting on the floor. WL and SL at each segment were compared for each position. Results : WL when sitting on the floor was reduced by 72.9% than the average of that in the standing position. Of the total decrease in WL, 78% occurred between L4 to S1. There were significant decreases in SL at all lumbar spinal levels, except L1-2, when sitting on the floor as compared to when standing and sitting on a chair. Changes in WL between the positions when sitting on a chair and when sitting on the floor were mostly contributed by the loss of SL at the L4-5 and L5-S1 levels. Conclusion : When sitting on the floor, WL is relatively low; this is mostly because of decreasing lordosis at the L4-5 and L5-S1 levels. In the case of lower lumbar fusion, hyperflexion is expected at the adjacent segment when sitting on the floor. To avoid this, sitting with a lordotic lumbar curve is important. Surgeons should remember to create sufficient lordosis when performing lower lumbar fusion surgery in patients with an oriental life style.

• 복식
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• 제54권2호
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• pp.105-119
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• 2004

Cultural hybridization and global cross-fertilization, begun since the 1990s, mean the hybrid mixture of the low-class popular arts and the high-class fine arts and have found expression in intertextuality by means of the thinking system of de-constructuralist post-modernism. This study was intended to investigate the artistic intertextuality between fashion and art frontiere, especially between such fields as 'animation', 'music', and 'performing arts' and 'fashion', which shows the greatest characteristic of the phenomenon that the non-mainstream culture flows into the mainstream culture. It also aimed to investigate the intertextuality between 'technology' and 'fashion' as the delivery room of the youth culture and copycat culture due to the benefit of technologies since the 20th-century digital revolution. Animation as the neo-pop art with the popular code coming to the forefront in the 21th century integrated high-class fashion and low-class fashion into one through the combination of fashion and humor, and the musical element referring to the social difference of the cultural field and the social strata is becoming the 21th-century fashion icon through its fusion with the pictorial tendency along with the leisure-time life of the non-mainstream strata. In terms of intertextuality in performing arts, fashion style performs an important role in the presentation of performing arts and since the de-construction of the fin-de-ciecle form and its fusion with media have taken place, fashion works become and element of the origin that has an influence on a series of film, dance, dramatic elements and the like. The paradigm of technology made it socially and culturally possible to achieve the architecture of clothing system necessary for fashionable technical clothing by allowing the possibility of imitation, the function of technology to form popular culture. The intertextual tendency in the 21th-century fashion began from the de-constructive phenomenon of existing norms and now takes the multicultural character of surpassing a certain domain or concept. And it positions itself as the total art of spearheading the low-class culture and the non-mainstream culture as the hybrid domain of mainstream and non-mainstream cultures or high-class and low-class cultures.

• 패션비즈니스
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• 제4권3호
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• pp.15-33
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• 2000

The purpose of this thesis is to suggest the new ecology fashion through the comprehensive approach to analyze the difference of characteristics between ecology fashion established before the early 1990's and new ecology fashion advented in the late 1990's and create the design inspired by the image of new ecology fashion. As a method of accomplishing this research, the articles and magazines related to the fashion were examained. Also internet was surfied for studying social and cultural background of new ecology and examining the trend of new ecology expressed at design at first. Through examining the fashion mode in the late 1990's related to the trend of new ecology, the characteristics of new ecology fashion have been devided by the fabric, color and detail and drown out three images of new ecology fashion. The cultural background of new ecology is advent of fusion, techno and zen culture in the late 1990's. The characteristics of new ecology fashion are as follows. As regards of the fabrics, It's been used naturalized synthetic fabrics such as lycra and tencel produced by the advanced technology as well as luxurious natural fabrics. As the aspect of colors, on the basis of neutral colors shown to the previous ecology fashion, the wide range of colors including the vivid colors has been presented sophisticatedly. The most evident characteristic of new ecology fashion is the increase of details, along with keeping the minimal style. According to this trend of new ecology fashion, three charicteristic images can be extracted ; the techno ecology, the modern ecology and the romantic ecology. As the megatrend sustained during the late 1990's, the trend of new ecology was the mainstream not only of the fashion but also of the human life style, and has the potential continued in the 2000's.

• 한국식품조리과학회지
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• 제30권5호
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• pp.579-587
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• 2014

Korean food is being recognized for its excellence. This paper attempts to provide material for the popularization of Korean cuisine with respect to foreign nationals living in Korea who are vegetarian by studying their Korean cuisine knowledge and preferences. The results of an Importance-Performance Analysis showed that though the importance values of traditional spice use such as garlic and the consideration of ingredient price were high, their performance values were low. Thus, these were areas identified as needing major improvement. Repeated measured data analysis was performed to determine variations in the perception of major factors for the development of Korean cuisine. The results indicated that simplification of seasoning was the most important factor followed by diversification of food ingredients, resale of vegetables in small quantities, ease of obtaining Korean cuisine recipes, and popularization of herbal and temple food, in that order. The least important factor in developing Korean cuisine was determined to be the reduction in levels of salt. Conjoint analysis was performed on the choices affection the selection of Korean cuisine, and price was found to be the most important factor. It was also determined that the effectiveness in the combination of fusion style, health oriented, concurrently served, medium to low price Korean cuisine was highest in preference. The next highest preferred combination was traditional style, health oriented, concurrently served, medium to low price Korean cuisine. The most significant factor to keep in mind in developing Korean dishes for foreign vegetarians was determined to be price. Furthermore, it was important to not simply reduce caloric intake but to use healthy ingredients and cooking methods.

• 복식
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• 제65권5호
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• pp.14-34
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• 2015

The aim of this paper is to analyze the relationship between the inspirations and designs of Dries Van Noten's women's collections from 1994 S/S to 2014 F/W. From the research purpose the following questions arise: how are the brands of Dries Van Noten developed and what are the important features? What are 'the roots of inspiration' for Dries Van Noten's women's collections from 1994 S/S to 2014 F/W, and what are the aesthetic criterions of Noten's works? How are the roots of inspiration categorized, what are the features of each category, and how do these roots of inspiration influence the Noten's designs? The paper is a practical reference of how ideas turn to practical works and what is the relationship between inspiration and design. Researchers utilized a qualitative research method to provide a systematic review of the previous studies. To sum it up, roots of inspiration of Dries Van Noten's women's collections can be classified into seven categories: 'ethnic', 'trend & style', 'flowers', 'artists', 'interpretation', 'fabric & pattern' and 'multiple contents'. Through the roots of inspiration, sensibility of Belgium, inquiry of ethnic & oriental, Artists, England, longing of street fashion, 1920's & 1950's trend & style of French high fashion, romanticism, atmosphere of medieval, gypsy, punk and hippie are extracted and applied to the designs through cross impact. The identities of Dries Van Noten's women's collections are fusion and harmony of cross culture and diversity.

• 한국식생활문화학회지
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• 제11권1호
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• pp.43-52
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• 1996

[Goshogi] which is held from 9th to 16th January, every year is the Buddhist service of praying for the soul of Shinran's $(l173{\sim}1262)$ after death. It is the most majestic high-filling style and also unparalled in the annals of Japanese history in sacrificial offering. Shinran was horned in the Fujiwara's family. And not only he believed Prince Shodoku's belife but also retired to the mountain to enter the priesthood by it. Prince Shodoku built Horyu temple which is the typical temple of Nara ages. Buddism was transmitted from Korean peninsula, three countries of Silla, Bekje and Kokuryo effected on many field of Japnese culture during that ages. At the same time, Kasugadaisha and Danjanjinja of Shinto religion was built by Fujiwara Family. Both of them was Buddhist temple before. Throughout like these historical background, the facts what the religious services and the sacrificial offerings for Prince Shodoku, Wakamiyasai of Kasugas' and Kakitsusai of Danjanjinja must be influenced from Korean Peningula. So the dietary culture of the religious rites and traditional customs between two countries could be thought the relation with a narrow stream strait. But among them, in the size, color and shape, the cooking method and technique in the usage of rice powder and sugar, it is tops in value. The noteworthy points of the thought were as follows: 1. high-filling style of the sacrificial offerings what is mixed and harmonized with Buddhism, Confucious, Sharmanism, Toaism and Korean traditioal customs. 2. eating together of god and human. 3. the fusion of gods and Buddha.

• 한국의류학회지
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• 제30권3호
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• pp.458-469
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• 2006

복식문화교류의 사례분석을 통해 교류가 복식변화의 한 요인임을 밝히고, 나아가 현재와 미래의 복식 변화에 대한 이해를 돕고자 하는 목적을 가지고 본 연구에서는 정치적 요인에 의한 교류를 중심으로 사례분석 하였다. 복식문화교류를 분석할 수 있는 이론을 제시하기 위해 문화교류, 복식문화에 대해 고찰하고, 이를 근거로 전파, 선택, 재해석의 세 단계로 구성된 복식문화교류 과정의 모델을 제시하였다. 제시한 복식문화교류 과정 모델에 근거해 정치적 요인에 의한 복식문화교류 사례 4가지를 분석하였다. 복식이 기호로 표현 가능하다는 것을 정치적으로 이용한 교류는 강제적이거나 반강제적인 경우가 대부분이었다. 침략자들은 자신들의 우위성을 강조하기 위해 자국의 복식을 피전파지에 강제 수용시켰다. 단순한 물질로서의 복식을 이입시킨 것이 아니라 자신들의 가치관과 삶의 방식을 이입시키고자 한 것이다. 결과를 통해 얻을 수 있는 결론은 교류가 복식문화를 변화시키는 중요한 원동력이라는 것이다. 모든 교류가 전파와 수용 방식에 크게 영향 받지 않고 융합이라는 수용의 결과를 얻었으며, 융합은 기존의 복식과 외래의 복식이 서로 건설적인 방향으로 혼합되어 새로운 복식문화를 만들어 나아갔다.