• 영어영문학
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• 제55권6호
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• pp.1123-1137
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• 2009

Revisiting the horror of slave mutiny in nineteenth century America via Julia Kristeva's concept of abject, this essay examines abject fear in Amasa Delano and Babo's subversive act to deceive Delano in Herman Melville's "Benito Cereno." Babo, the slave, exercises subversive power, thereby reversing racial hierarchy aboard the slave ship-the San Dominick. Babo's ability to mimic and control racial stereotypes exposes how nineteenth-century racial hierarchy was only a social fiction, which becomes the very source of Delano's fear. Delano's dread belies upon the possible disruption of social order triggered by Babo'sblack rebellion. In order to repress his fear, Delano consciously and unconsciously attempts to re-inscribe white dominion and reaffirm black inferiority and stereotypes by means of rationalizing the disturbing signs he witnesses on the San Dominick. When Delano discovers the realsituation of the ship, he must relinquish the abject resonance that disturbs the previous racial order. Employing a legal document, Delano re-inscribes the official position of the blacks as slaves, defining them as violent savages, and thereby silences Babo. However, Melville's text is not a testament to white power. "Benito Cereno" actually endorses abject instability to challenge racial hierarchies through the poignant image of Babo's dead gaze in the last scene of the novella. Thus, "Benito Cereno" exemplifies the recurring power of abject as a threat to social hierarchy and as a constant reminder of the falsity and insecurity of a social order.

• 대한치과보철학회지
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• 제52권4호
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• pp.346-351
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• 2014

흡착 의치는 의치상연 주위 전체를 가동 점막으로 봉쇄하여 연하나 교합 시 의치상 내면에 일시적으로 음압을 형성하여 의치의 유지와 안정을 강화한다. 본 증례의 환자는 81세의 남자 환자로 새로운 의치를 제작하고 싶다는 주소로 내원하였다. 의치의 유지와 저작 효율에 대한 환자의 높은 요구도를 고려하여 흡착 의치를 통한 총의치 제작을 계획하였다. 하악 후구치 융기 부위를 가압하지 않은 채로 예비 인상을 채득 후 상하악 진단모형을 제작하였다. 이후 개인 트레이 제작 후 최종 인상 채득과 동시에 고딕 아치 기록을 시행하여 중심위 및 수직 고경을 채득하였으며, 상악에는 해부학적 치아, 하악에는 비해부학적 치아를 배열하여 설측 교합을 형성하였다. 이상과 같이 완전 무치악 환자에서 하악 흡착 의치를 통한 총의치 수복은 만족스러운 유지와 기능을 회복할 수 있었기에 본 증례를 보고하고자 한다.

• 한국의상디자인학회지
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• 제15권3호
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• pp.157-166
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• 2013

Features of the Occult Culture is preferred that powers, demons, magic, magical, unreal etc. Currently Occultism is getting a lot of attention to the public in the society, culture, arts and the play. Fashion in the period that includes all circumstances is a field. Thus, the current Occultism and modern fashion will also be related. Objective of the study is to figure out the form and meaning of Occultism in Contemporary Fashion. An example of the best of contemporary trends is the mass media, For this reason, Occultism symptoms range of case studies mess media(television programs and film). Research on contemporary fashion range was used 2000-2013 fashion collection extracted from the data. Represented in the mess media features of occultism is 'Witchcraft and Sorcery' and 'Death and Horror'. They are story of wizard exorcism and unnatural horror. In the 21st century, modern people are enjoying occultism, and occultism is the one of the entertainment. Expressed in contemporary fashion features of occultism is 'Super-human organism', that is out of the human body, ignoring body shape and type of transformed organism. Second distinction is 'Ghost', they are something like the dark and dismal, shape of ghosts and look pale. Third distinction is 'Neo-Macabre', it is the shape of the skeleton. Skeleton symbolizing the end of life, skeleton to express Occultism has emerged as the most representative motifs in the 21st century fashion. Occultism expressed in fashion is a gothic fantasy, because the fashion can be expressed. In addition, people in modern society wants to be against the norms and taboos. The trend Occult-culture is a symbol of the public's desires and needs.

• 대한인간공학회지
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• 제31권2호
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• pp.397-406
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• 2012

Objective: The aim of this study is to determine legible Korean font sizes within in-vehicle information systems(IVISs) in diving conditions. Background: Font legibility within IVISs is one of important causes on its' safe operations during driving. Several researches proposed some guidelines on the legible English font sizes within IVISs. On the contrary, appropriate Korean font sizes have been hardly known in spite of the typological differences between English and Korean. Therefore, more systematic researches for improving the legibility on Korean font size within IVISs have been required. Method: In this study, an experiment was performed with the following experimental factors: the existence of vibration, the color contrasts(white on black, black on white), the font types(HDR, CubeR, Gothic), and the font sizes(6, 8, 10, 12, 14, 16, 18, 20, 22, 24pt). To fit the experimental conditions into real driving environments, the illuminance was controlled to 15lx by using LED lamp and the distance between IVIS and participants was kept to 70cm. Moreover, all participants took the shutter glasses for employing well-known occlusion techniques. Results: The experimental results showed that 'HDR' and 'Non-vibration + Black on white' group took the shortest response time, and decreasing slopes of the response time with increasing font sizes were slowing down at 14pt then flattened out at 22pt regardless of the existence of vibration and color contrasts. Conclusion: The minimum size for legible Korean font would be about 14pt(5.47mm) and the optimum size would be about 22pt(8.59mm). Application: The guideline on the Korean font sizes from this study will be applied to design an IVIS in the future.

• 한국의상디자인학회지
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• 제17권1호
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• pp.141-154
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• 2015

The purpose of this study is to look for a development plan for strategic brand logo by a means of scrutinizing general characteristics and trend in the visual properties of outdoor logo brands. In this study, data research and analysis were conducted over the 68 outdoor brands in circulation in the domestic market based on the information on the website of each brand in order to examine the visual characteristics of an outdoor brand logo. For this, it was performed to examine the desired brand concept of each brand and to analyze the visual characteristics of typeface, color, and type of logo. The results of this research are the followings: First, it was found that the most popular typeface in outdoor brand logos is a capitalized Gothic type. It seems that the logo type is designed to symbolize power, toughness, and masculinity and to express the concept of sportswear brand. Second, when it comes to color, black color tone appeared most frequently, and also reddish colors among chromatic colors were prevailing over others like green, blue, or yellow. It is believed that reddish colors were used to express passion, power, youthfulness, and energy; black color tone for tough, masculine power. Third, the logo symbol of outdoor brands mostly contains mountain, the heads of powerful animals, spherical shape/abstract image that embodies outdoor sports activities. It was analyzed that these resulting symbols were chosen to convey the images of nature, conquest, challenge, future, and passion that are the brand concept of most outdoor brands. Today, in our country, the logo of an outdoor brand is the important factor that symbolizes the brand concept, function, or characteristics. Therefore, the necessity of constant follow-up researches is required to devise the way of designing the brand logo that can build brand power and enhance brand image.

• 한국지역사회생활과학회지
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• 제11권2호
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• pp.29-42
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• 2000

It has long been believed that European clothing style has been developed independently without the Eastern influence. This deductive assumption has limited the understanding about the contents of Eastern clothing style, and there has only been limited studies on the Eastern influence on the European clothing. The lack of understanding and interest made the traditional Eastern influence on the European clothing. The lack of understanding and interest made the traditional Eastern clothing to be considered as merely exotic and relatively unimportant. Therefore, a thorough study and understanding of the contents of the Eastern clothing style and its influence on the western world is very much needed. The objective of this study is to see how the clothing of the Islamic Osman Turk had influenced Europe during the Gothic and Renaissance period and to find the relationship between the development of the East and West clothing style. This study also has the purpose of re-evaluating the importance of the Eastern culture in the present multi-cultural global era of the 21 st century. The most typical clothing of the Osman Turk was kaftan and other traditional clothing included narrow pants and head dress. Through trade, war and other channels, the Turkish influence changed the styles and colors of previous European fashion that can be characterized by the simple designs of tunic and mantle into a dynamic dress culture. Cotehardie adopted the styles of the Turkish kaftan. The new weaving techniques enabled new clothing such as Pourpoint, Houpplelande made of brocade and velvet with elegant patterns come into European fashion. Also, head dresses, which before were not used except for religious reasons were widely worn. As such, Turkish fashion gave significant influence on the development of European clothing style.

• 복식
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• 제30권
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• pp.275-294
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• 1996

In fashion there was a move away from the ascetic of the Gothic according to the appear-ance of a new spirit at the beginning of the fourteenth centuries initially in Italy. The new spirit Humanism applied their interest not to the universal but to the individual and particular. The Renaissace costume style based on the Humanism was sharp angled and curvy and had a grotesque silhouette with the exaggerated and tense decorations. The purpose of this study is researching the background led to the balanced costume style characterized by unique details. out of the tastte for luxury and beauty grew a new style known as slashing in which seams were left open and colored linigs thrust through or cuts were made in an entire cos-tume and contrasting material puffed out of the cuts. With the slashes another element was characterized in the high Renaissance cos-tume style that was the use of points or lace to hold a costume together. For the masculint costumes pads became into a fashion and were used for forming the antinatural artificial and bulky silhouettes. The body was distorted and tensed by putting the pads into the sleeves and bodice. The jacket with a full rounded bodice like a bow known as peascod belly and haut de chausses a onion-shaped trunk hose with a codipiece ap-peared and grew one of the most characteristic of Renaissance style. According to these sociological changes the view of the beauty based on the human body and in both of men and women the costume style was changed very much to emphasixed their physical beauty and finally it grew a grotesque style and even more a exposed style that exposed a part of their body. Those backgrounds as were stated above can be said to lead to the appearance of the grotesque style in the Renaissance Age.

• 구강회복응용과학지
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• 제17권4호
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• pp.275-282
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• 2001

Centric relation is defined the horizontal position between maxilla and mandible when condylar head of mandible is positioned adequately in mandibular fossa. The most recent concept of centric relation position is defined as the mandibular position in which the condyles are in their most superoanterior position in the articular fossa, resting against the posterior slope of the articular eminences, with the articular disk properly interposed. To be suitable as a reference point during occlusal management, a mandibular position of centric relation has to be functionally acceptable to the patient and clinically reproducible and achievable during everyday practice. There are numerous methods for determination of centric relation, and in this study we used three of them, Gothic arch tracing(Group I), leaf gauge(Group II), and anterior jig(Group III). The subjects were 10, 8 men and 2 women, age-ranged from 23 to 26 years old, had no prosthetics in thier mouth, and had no sign and symptom of temporomandibular disorders. We gained three occlusal records using each method, and then the degree of the reproducibility was examined with split cast technique. In this study the reproducibility of centric relation using split cast technique was greater in the order of Group I(mean 1.6), Group II(mean 1.4), and Group III(mean 1.3), but there was no significant differences among them statistically(p>0.05).

• 복식
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• 제51권4호
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• pp.15-30
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• 2001

The purpose 7f this study is to investigate the change of the ideal beauty of human bodies and the related clothing form designs from the ancient Egypt to the Romantic Period in the aspect of optical illusions effects to achieve the ideal beauty so that we can accumulate the knowledges for the modern clothing form design and the related optical illusion effects. The scope of this study is limited to the female body forms and female dress forms. The analysis on the optical illusions in the dress forms of the various period relied on the literatures and some representative photographs and figures. The important results are as follows : 1. In the body Priority type designs of Egypt, Greece and Rome, the natural Beauty of human bodies was represented by H type silhouett, the smooth and transparent drapery materials were used with radiant line pleats resulting in slant optical illusions. 2. In the clothing priority type designs of Byzantine, Gothic, Renaissance, Baroque, Rococo and Romantic Period, manteau, cotehardie, hennin and poulain were used to emphasize long arms and legs, high waists, belly curves and large heads resulting in optical illusions of vertical emphasize. Also long train, farthingale and panier were used to emphasize body expansion resulting in the optical illusions of Titchener alld Lipps. Large and complex patterns showed the optical illusions of Aubert. 3. In the clothing priority/body concealment type of Byzantine period, thick materials with precious gems and voluminous silhouettes were used to emphasize body expansion resulting in optical illusions of materials.

• 한국콘텐츠학회논문지
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• 제11권6호
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• pp.116-126
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• 2011

본 논문에서는 공포게임을 사용자에게 공포의 반응을 일으키는 것으로 최소의 목적을 달성하는 게임의 장르로 규정하고, 기존의 실험적 연구의 한계를 넘어 무엇이 사용자에게 공포의 반응을 일으키는 요소인지 연구하기 위해 서사 요소를 분석하였다. 서사 요소의 분석은 공포게임 안에 어떠한 문법이 작동하는가를 밝힘으로서 내용적 요소를 볼 수 있다는 점에 그 의의를 갖는다. 본 논문에서는 게임 이전에 공포라는 장르를 형성하게 한 고딕 호러 소설 장르로부터 공포의 요소들을 분리하여 이 서사적 요소들이 실제 공포게임에서 어떠한 방식으로 변용되어 나타나는가를 보았다. 이를 위해 코나미 사의 <사일런트 힐> 시리즈를 주요 대상으로 삼아, 게임적 특성인 공간과 서사요소가 어떻게 변용되는가를 분석하였다. 이 연구가 향후 공포게임이라는 특수한 장르의 게임뿐 아니라 게임 안에서의 공간과 서사 요소 간의 관계를 밝히는데 도움이 될 것으로 기대한다.