• 한국의류학회지
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• 제39권5호
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• pp.641-655
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• 2015

This study examined the ideal image and fashion of Korean women in the 1970s from a socio-cultural context. This study used information on the 1970s politics, economy, and culture provided by "Chosun Ilbo" and "Yosungjungang" as well as their presentation of the ideal image and fashion for Korean women in the 1970s. The ideal image and fashion of women were considered from the viewpoint of Hamilton's Meta-theory. The ideal image of women in the 1970s is divided into two aspects. The image from the traditional Confucian perspective was prevalent and restricted the lives of women to housekeeping chores. On the contrary, women have increasingly participated in society vis-$\grave{a}$-vis education and employment opportunities to present a progressive image of women. These aspects coexisted during the turmoil of social change. Progressive women had money to buy clothes because they were economically independent. These women embraced styles that included mini, midi, maxi, and bell-bottom pants. Further, pants were developed into different styles such as pant suits. T-shirts and blue jeans as casual wear were very popular among the youth. At the end of the 1970s, the tailored look and the big look (which copied men's clothing) were in fashion. Masculine styles such as wide shoulders with pads and neckties strengthened gender equality. Other fashions were dominated by feminine styles described as beautiful, sweet, and elegant that reflected Korean society's tendency to regard women as sex objects. Clothing that exposed the body highlights this sexual objectification aspect. Women wore miniskirts, hot pants, and bikinis because they wanted to enhance their sex appeal, propagating the view of women as sex objects. In conclusion, all aspects of society and culture were closely interrelated with a fashion style that reflected the values of those aspects.

• 복식문화연구
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• 제12권2호
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• pp.224-238
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• 2004

This paper analyzes the similarity of fashion in the 1920's and 1960's. Fashion is a reflection of Zeitgeist. The similarity of fashion appeared in the similar social ideal period. The fashion of the 1920's and 1960's have a lot of similarity in many respects. Androgyny was the new word. The woman cut her hair short, wore short skirt, and projected a self-confidence that was considered by many to be too masculine. The new fashions also appeared very youthful. The cult of eternal youth was born. The mature woman was no longer requested. Instead, in the face of changing lifestyles and extremely rapid technological development, taste ran in favor of a young, athletic, and mobile ideal. The new fashions do-emphasized curvaceous shapes through short dresses and short hair-both styles were supposed to express youthfulness. Characteristic of the times was the short loose dress: straight silhouette disguised feminine curves. The new dresses were invented for very young, slim, and wide-eyed women. The common Zeitgeist of the 1920's and 1960's represents the cult of youth and the adoption of innovative style, which emphasized decoration-cleared simplicity, functionality, practicality, activity, androgyny. Innovative short skirt, youth fashion, androgynous style, unisex style, tubular silhouette, short hair style, and eyeline-emphasized makeup were analyzed by the similarity of fashion in the 1920's and 1960's.

• 영어영문학
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• 제57권5호
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• pp.757-786
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• 2011

Seneca, the most influential classical Stoic and Justus Lipsius, the founder of Renaissance Stoicism suggest constancy, an unmovable strength of the steadfast mind based on reason and sound judgment, as a practical way or attitude in life full of both public and private evils. As a member of the Sidney family, Wroth is very much likely to have been influenced in molding her concept of constancy by Senecan and Lipsian Stoicism, which was introduced into England through Sir Philip Sidney's friendship with Lipsius. This paper explores Wroth's concept of constancy in Urania as a Stoic ideal in the context of the major Stoic writings of Seneca and Lipsius. While the titular character of the romance Urania shows some inherent attributes of Stoic constancy from the beginning of the romance, Pamphilia as the pattern of constancy gradually perfects the virtue through the ordeals of her love of Amphilanthus and her queenship. Her frequent retirements into private and secluded places are the essential occasions for her disciplining in Stoic constancy through self-examinations of her psychological and emotional disorders and poetry writing. Amphilanthus, a constantly inconstant lover, fully understands the importance of constancy in love as well in life only after his marriage to another woman and Pamphilia's marriage to another man. At the end of the romance they come to accept the vicissitudes of life in Stoic constancy. In Urania, Wroth transforms the strongly masculine Stoic constancy into a female heroic ideal. Thereby she presents those female characters as important political, ethical and cultural subjects and their constancy as a thread through the labyrinths of love and life.

• 한국의류학회지
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• 제31권4호
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• pp.551-562
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• 2007

The purpose of this study was to examine the influence of sex role identities on male consumers' appearance management behavior. Recently, heavy marketing efforts have been made by the cosmetics and apparel industries to cater to male consumers who seem to be increasingly interested in their appearances. This study intended to identify the relationship between male consumers' appearance management tendencies and their sex role identities and benefits sought in clothing. A survey data was collected from 321 men aged between 20 and 40 and was analyzed using SPSS. The results showed that not only the male consumers' perceived masculinity and femininity but also the discrepancies between their ideal and perceived masculinity/femininity were related to the benefit they sought in clothing. Also, individuals who identify themselves as masculine (rather than feminine) were more likely to be engaged in appearance management practices. However, a greater portion of their appearance management behavior was explainable by their pursuit of fashionability, conformity, and individuality in clothing. This seems to indicate these male consumers consider appearance management primarily as a fashion trend.

• 영어영문학
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• 제58권6호
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• pp.1193-1213
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• 2012

This essay "Twain's Contestation of Emersonian Transcendental Manhood in Huckleberry Finn" explores how Mark Twain's Adventures of Huckleberry Finn (1884) manifests his postwar contestation of Ralph Waldo Emerson's transcendental manhood that endorses the dogmatic, egocentric, and decorporealized position of the Cartesian subject, who believes his being's unity, elevation, and centrality through his fantasy of possessing direct access to divine truth. The connection between Emerson and Twain is based not on Emerson's influence on Twain but on their common interest in American landscape as a site for the redefinition of manhood and masculinity. I examine different types of manhood in their association with nature in Huckleberry Finn by comparing them with the two fundamental concepts of Emerson's philosophy: "a true man" in "Self-Reliance" (1841) and transparent eyeball vision in Nature (1836). Twain's use of Huck's ambivalent position-his centrality as a protagonist in the novel in spite of his marginality in society-renegotiates Emerson's valorization of nonconformity, wholeness, and nonchalance as the characteristics of both boyhood and "a true man," Emerson's term for the ideal individual in "Self-Reliance." I also read Twain's satire of two different types of masculine characters-Bob and the Child of Calamity, boatmen of the Southern frontier, and Colonel Grangerford, patriarch of a Southern aristocratic family-as Twain's denouncement of the antebellum desire for transcendental vision, which Emerson crystalizes into his notion of transparent eyeball in Nature.

• 한국심리학회지 : 문화 및 사회문제
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• 제28권4호
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• pp.749-772
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• 2022

이 연구의 목적은 신체적 매력의 기준인 WHR(waist-to-hip ratio)과 황금비가 타당한지를 검증하는 것이었다. 이를 위해 대학생 남자 60명과 여자 60명을 각각 같은 수의 두 집단으로 나눈 다음, 3D 게임 프로그램을 이용하여 한 집단은 자신이 생각하는 이성, 다른 집단은 자신이 생각하는 동성의 이상형을 구현하도록 했다. 이렇게 구현한 이상형의 WHR과 황금비를 측정하여, 신체적 매력의 기준인 WHR(여성: .7, 남성: .9) 및 황금비(혹은 1.618)와 비교하였다. 그 결과, 참가자의 이상형은 그들의 성별에 상관없이 여성과 남성의 WHR을 매력의 기준치보다 낮게 구현했다. 즉, 참가자들은 남성과 여성의 몸매가 허리가 얇고 골반이 넓은 굴곡진 체형을 선호하는 것으로 나타났다. 다양한 방식으로 측정한 황금비의 경우에도 참가자들이 만든 이상형은 이론적인 비율과 거의 대부분 측정치에서 큰 차이가 있었다. BR(body ratio) 점수로 측정한 신체 비율을 보면, 참가자들은 매력적인 캐릭터를 황금비보다 다리를 짧고 허리도 짧게 묘사했으며, 특히 이상적인 남성이 이러한 특성을 더 많이 가지고 있었다. FR(facial ratio)과 FR_VP(facial ratio_vertical point)로 측정한 얼굴 비율에서 참가자들이 만든 매력적인 얼굴 형태는 참가자나 캐릭터의 성별과 관계없이 모두 황금비보다 얼굴이 짧고 넓은 단방형 얼굴의 남녀를 선호했다. 참가자들은 여자 캐릭터 얼굴로 하부 대비 상부가 넓은 동안(baby face)을 선호했고, 남자 캐릭터의 얼굴로 상부 대비 하부가 넓은 남성적 얼굴형을 선호했다. 마지막으로, 이러한 연구 결과의 의미와 함께, 이 연구의 한계점과 후속 연구를 위한 제언을 논의하였다.

• 한국의상디자인학회지
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• 제20권1호
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• pp.49-59
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• 2018

The purpose of this research is to study the semantic characteristics of men's cosmetics brand names by analyzing 51 brand names in the domestic market, so as to find ways to develop strategic brand names. In order to investigate this area, the study looked at the Interbrand Company's Name Spectrum, and the results are as follows. The men's cosmetics brand names turned out to be freestanding brand names, descriptive brand names, and associative brand names, in that order. The freestanding brand names were found to be the initial combinations of the words that have the desired benefits in the concepts of the pertinent brands; in other words, coined brand names that were made by synthesizing words such as nice men, naturalism, eco-friendly plant-derived materials and ideal skin. Associative brand names are generally used to express the effect of enhancing brand awareness by considering the phonetic image of the word or prompting a masculine and favorable image. Descriptive brand names use language symbols such as men, homme, man, monsieur and gentle to represent specific business and product categories for men, and also use stem, plant, flower, skin, beauty, moisturizing, tosowoong and so on to provide the properties and beneficial information related to the products. In conclusion, the men's cosmetics brand names embody an important factor that symbolizes the concepts, functions or features of the brand, and there is a need for men's cosmetic brands to develop more unique and distinctive brand names to promote their brand names as constitutional factors that can build brand power and strengthen brand image.

• 한국의류학회지
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• 제19권3호
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• pp.397-415
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• 1995

The purpose of this study was to identify the change and characteristics of 20th men's fashion. The result of the Study as follows; 1 In the period 1890's-World War I there was a display of opulence and extravagance Therefore men's fashion pursued with elegance and grace. The rise of sports and an erosion of rules of Victorian society were evident influences before 1914. So men's silhouette resembled athletic appearance and less formality was shown in masculine attire. 2. During the period World War I-1920's the new equality of social relations between the sexes had an influence in fashion. Unisex look evolved so boyish shaped became the feminine ideal, men wanted to boyish fitted leaner stylings and natural shoulder suits. In the twenties youth, who seemed to have a social dominance, asserted their own testes in fashion. New style of men's fashion such as oxford bags and Ivy League Look appeared. After World War I "comfort" is the aim of fashion so casualness was reflected in fashion: vests often were discarded and man wore a soft, detachable collars. 3. In the thirties depression marked a shift in mood from gaiety and progressivism of the twenties to the conservative, even reactionary values. The role of men and women returned to more traditional attitudes, Every men's general appearance was bold and manly: his chest was broad and well-built, his shoulders square and muscular. The effects of World War ll were not on style but on textiles and clothing construction: lighter weight fabrics appeared and construction was simplified 4. Men's dress changed only in detail and not in essence. But there was a continued increase in the variety of clothes and color in men's fashion.

• Archives of Plastic Surgery
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• 제40권5호
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• pp.597-602
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• 2013

Background The forehead, which occupies about one third of the face, is one of the major determinants of a feminine or masculine look. Various methods have been used for the augmentation of the forehead using autologous fat grafts or alloplastic materials. Methylmethacrylate (MMA) is the most appropriate material for augmentation of the forehead, and we have used an injection-molding technique with MMA to achieve satisfactory results. Methods Under local anesthesia with intravenous (IV) sedation, an incision was made on the scalp and a meticulous and delicate subperiosteal dissection was then performed. MMA monomers and polymers were mixed, the dough was injected into the space created, and manual molding was performed along with direct inspection. This surgery was indicated for patients who wanted to correct an unattractive appearance by forehead augmentation. Every patient in this study visited our clinics 3 months after surgery to evaluate the results. We judged the postoperative results in terms of re-operation rates caused by the dissatisfaction of the patients and complications. Results During a 13-year period, 516 patients underwent forehead augmentation with MMA. With the injection-molding technique, the inner surface of the MMA implant is positioned close to the underlying frontal bone, which minimizes the gap between the implant and bone. The borders of the implant should be tapered sufficiently until no longer palpable or visible. Only 28 patients (5.4%) underwent a re-operation due to an undesirable postoperative appearance. Conclusions The injection-molding technique using MMA is a simple, safe, and ideal method for the augmentation of the forehead.

• 영어영문학
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• 제57권2호
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• pp.315-337
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• 2011

This paper aims to examine a truth about love - the close relationship between a person's passionate love and that same person's loneliness and suppressed desires, a relationship that Carson McCullers (1917-1967) portrays in The Ballad of the Sad Cafe. McCullers, one of several brilliant writers from Southern America, managed to overcome her cruel situation and showed deep insight into the human condition, particularly in regard to the relation between love and isolation. The Ballad of the Sad Cafe, like her other works, examines the spiritual isolation and the agony of love that three lovers experience. The love in this story is a triangular relationship among the three main characters, Amelia, Lymon and Marvin Macy. The distinctive characteristics of love described in this story are that each character falls into blind and passionate love for the person he/she loves, no matter how the beloved responds. Love also changes the lover, not the beloved, revealing the completely opposite nature of the lover. The opposite nature and the inner secrets that the love reveals about the lovers reflect their frustrated and suppressed desires, which is femininity and motherhood for Amelia, non-violent masculine power for Macy, and physical attraction and power for the hunchback, Lymon. These suppressed desires are rooted in the deep sense of frustration that they had to experience in their childhood. In short, the seemingly unconditional love of the main characters is not an ideal, altruistic love, but a reflection of their inner desires. This story, however, does not seem to criticize this kind of love but simply tries to give an honest picture of what love might be. It also admits that 'deformed' love is still better than no love (and consequently no stimulus) because what really damages and causes decay in human beings and in a community, is the state of boredom.