• The Korean Journal of Food And Nutrition
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• v.11 no.3
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• pp.303-311
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• 1998

This study was carried out to determine the blood glucose responses to 10 kinds of typical Korean domestic meals, 9 kinds of eating out meals and 5 kinds of diabetic meals recommended by hospitals. The levels of blood glucose were measured at 15, 30, 60, 90 and 120 minutes after taking 24 kinds of meals(500$\pm$10㎉) and 50g of glucose to healthy volunteers. The blood glucose response areas and glycemic index(GI) were calculated. There was no invariable tendency of blood glucose responses among diabetic meals, general domestic meals and eating out meals. As the units of grain groups were increased, the GI of meals was increase. When the units of grain groups are same, the side dishes also affected the blood glucose responses, however, it is yet unknown what kinds of food materials of side dishes affected the blood glucose responses. Noodles (Chinese style, kalgugsu(Korean home made) and ramen) lowered blood glucose responses compared to steamed rice. Mixing barley and brown rice with polished rich also lowered blood glucose responses, especially when the mixing ratio of them was over the 15%. The lowering efficiency of barely was greater than brown rice. More than three grain units of rice increased the blood glucose response. The GI was significantly correlated with left area ratio(LAR), right area ratio(RAR) and blood glucose levels at 15, 30, 60, 90 minutes. The RAR and blood glucose levels at 30 minutes profoundly affected the GI.

• The Research Journal of the Costume Culture
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• v.19 no.6
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• pp.1163-1176
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• 2011

The purposes of this study was to identify characteristics of total coordination in the pursuit fashion sensibility among women their 20's. A self-administered questionnaire was used for data collection from 410 women in their 20's. Data collection was conducted Aug. 5 to Aug. 15, 2009. Most women emphasized on clothing for total coordination and utilized clothing color and style as a selection criteria. They tried to match makeup and clothing, and spent more time considering makeup, hair styles, and fashion accessaries than clothing for their total coordination. Factors of fashion sensibility included luxury and fashion, casualness and ethnicity, modernity, sociality, activity, and sexual attractiveness and women were segmented into fashionably sensible intermediate, low, and high groups according to their fashion sensibility. The fashionably sensible intermediate group predominantly encompassed women who were unmarried or in their late 20's, unemployed, highly educated, or of low economic status, preferred to mixing and matching colors, and who utilized their individuality or makeup color for total coordination. The fashionably sensible low group encompassed homemakers, in their early 20's, high school graduates or university students, who utilized their clothing or hair color within their total coordination criteria. The fashionably sensible high group encompassed unmarried career women in their mid 20's or of high economic status, who spent much money on their clothing, makeup, hair styles, and fashion accessaries, who preferred achromatic, warm or cool colors, and utilized their individuality or fashion color.

• Transactions of the Korean Society of Automotive Engineers
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• v.18 no.5
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• pp.130-135
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• 2010

Paint is used as top coat in Automobile Refinishing that is divided into 1K paint of base type and 2K paint of urethane type. after using 1K paint, it can be reusable. However 2K paint is not available that is mixed a certain amount of base with hardner, so 2K paint has to be used all at a time or discarded the rest. This study covered that colored Urethane paint and colorless urethane paint in top coating process of AR. Top coat urethane paint is divided into colored urethane paint and transparent urethane paint like clear coat. Colored urethane paint is used for paint that contains resin, pigment, solvent and additives. It is color such as black and white. While transparent urethane paint is used for paint that contains resin, solvent and additives. Urethane paint has a paint system that cur after several hours of mixing base and hardner. By a paint technician of a field and empirical data, we can also recognize that according to worker's paint style and experience, although he or she paint same car model and area, paint use of one's is different. There aren't guidelines workers refer to about paint use by car models and work scope because ARP works various car models that are in different color, size and area. After using urethane paint, the rest of paint has come, and there are highs and lows in paint use each time he or she works. Therefore, this study suggest a basic guideline to use paint efficiently and regularly by understanding area, the type of work, and paint use that are appropriate for each car model and regardless of workers and work scopes in AR.

• Journal of the Korean Society of Costume
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• v.21
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• pp.177-192
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• 1993

The purpose of this study is to present de-sign development and constructive method on man's Hanbok which can be put on daily-life clothing through supplementing the incon-venience of HanBok and to make men put on daily-life-HanBok through making the HanBok ready-made clothing which has lower-price. The concrete test and its process on devel-oped design are below. (1) In present there are five uncomfortable point waist closing baji's slitting and daenim (2) Developed the first design concentrating on uncomfortable parts with Korean costume-pattern (3) to supplement sleeve armhole and waist closing which are pointed out as the incon-venience at first design development did the second design development. The results through research and process are below. (1) In the functional test of testing clothing a testee is satisfied with jegory's closing at 87. 5% with pocket at 100% and with baji's front closing and daenim (2) The opinion of an observer on daily-life Hanbok is an affirmative response as following turns: traditional aspect practical use and aesthetic aspect. (3) Analyzing the relations between the characters of daily-life hanbok and the popu-lation density variables results are the popu-lation density variable results are followed below. Man has highe points than woman on asthetic and economical aspect. In preferences as educational levels more-educated person has an affirmative response on keeping traditions. In jobs students and white-collar people have affirmative responses on traditions. (4) What one wants to wear the most is the fourth Hanbok(mixing western and Korean costume style with Korean costume fabrics) and daily-life Hanbok with western costume fabrics has 51.8% preferences of responsers. With those results man's daily-life HanBok made through the first and the second design development lessens the inconvenience of Hanbok with some degrees. Also if daily-life Hanbok design continue to be developed through using Korean costume fabrics and western costume fabrics people can easily by functional and practical daily-life Hanbok because it can be massproduced.

• Journal of the Korean Society of Costume
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• v.37
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• pp.71-88
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• 1998

This study will analyze the aesthetic qual-ities revealed in the work of Vivienne Wes-twood in order to gain an understanding of the development process and uniqueness of modern avant-garde fashion. Westwood gained worldwide recognition in the 1970s as the Punk movement emerged in London. Although her works have often been described as decadent and anti-establishment, her anarchic view of fashion has had a considerable influence on other designers, both in England and around the world. Vivienne Westwood's works can be divided into three periods. In the first period(1971∼78). Westwood design demonstrated elements which were variations of the subcultural Punk style. The noteworthy designs of this period included ripped T-shirts, bondage clothes, and fetishist accoutrements. In the second period(1979∼83), her designs expressed elements from ethnic and primitive tribal societies through the 'Pirate', 'Savages', 'Buffalo Girls', 'Witches' collections, which inspired New Romanticism movement. In the third period (1985∼ ), through works such as 'Mini-Crini'collection, her works identified elements from the old west and used materials such as crinoline and Harris tweed and contemporized them by rearranging the innovative technique. In the end the news synthesis helped formulate new ideas. The aesthetic qualities in Vivienne Wes-twood's works can bed identified with the following themes : Punkature, Erotic Intelligent-sia, Anarchic Collage. First, within Punkature, Westwood's ideas are at the forefront as her impact on the cut of clothes and creative detailing have been considerable. Also, while her ideas can be extreme, her clothes are wear-able, resulting in the synthesis of Punk and couture. Second, as Erotic Intelligentsia, Vivienne Westwood does not present sexuality as a straight forward attribute that fashion so often tends to do, but instead as a matter for inquiry, exploration and debate. She asserts that sexuality is always an interplay between the polarities of masculine and feminine, of dress and undress. Third, as Anarchic Collage, she has taken, juxtaposed, and transformed objects and symbols from dominant culture, like every modern subversive movement from Dada to Punk. She has continued this form of anarchic collage, mixing styles from various times and places, taking them out of their traditional context. From thiss viewpoint, Vivienne Westwood's works can be considered to be made up of past themes merged with is contemporary. The usage of contrasting elements such as Punk and couture to communicate her ideas visually or technically.

• Journal of Fashion Business
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• v.13 no.2
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• pp.100-114
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• 2009

In Honam province, the cultural prototype are largely unknown to the people, also the research on this subject are scarce, the artistic excellence, somewhat under evaluated, both in our country and internationally. It is imperative that we develop the modern design using this prototype. thereby apply it to many areas of cultural products. We should extend the dimension not only to the local festival but also to the mass production resulting in the commercial gains. The Unjusa Buddha festival for promoting the public relation would be greatly benefited by using the concept of the temple, the local prototype, by which we expect to create a ingenious textile design pattern, coinciding with the main purpose of this study. The ancient material around Unjusa come to be the subject of our textile design by way of selecting the most remarkable ones of heritage among the materials of Unjusa. In the long run, the harmonious contrast of both traditional and modern image were sought in this study. Designed patterns were edited using Adobe Photoshop CS3, a multi-purpose graphic program and were simulated in the towel for visual presentation. The design is of two kinds, the one is of the free style using combinations of reclining Buddha, stone Buddha, stone pagoda, and geometric patterns freely not to be standardized. The other one is mixing of lotus pattern, reclining Buddha, and geometric patterns. These designs were applied delicately on the towel, necktie and handkerchief, and the various colors were suggested by the 6 color ways. The brilliance of our traditional cultural property should be noted by these designs and I hope that this study would be a help to develop our cultural prototype and make a product of using the outstanding heritage.

• Cross-Cultural Studies
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• v.38
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• pp.215-243
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• 2015

This paper looks at the literary mood of southwestern Russia in the late Russian Empire, while examining the writers of this area and their literary tendencies. Southwestern literature was formed in the late Russian Empire, and prospered centering around Odessa. Because of the uniformity in the Soviet culture, however, it could not stay alive but disappeared in the history of Russian literature. Odessa, the center of southwestern literature was a multiracial region unlike other Russian cities. A unique culture was created, therefore, combining the western European culture and local ethnicity. Jews in Odessa could enter into the Russian society and assimilate naturally. They could utilize their talents as a strength to enrich the Russian culture without giving up their cultural heritage. For example, in lingual aspects, using Yiddish was not against the Russian culture. In addition, it contributed to interesting new coinages and led to efforts among writers to minimize the gap between the two languages. Many Jewish writers showed special interest not only in Yiddish but also in French, German and other languages. Therefore, they took the lead in translating and introducing west classics. As evident in the way Yiddish language was formed, mixing their language with other languages enabled jews to soak their way into other cultures naturally. Their yearning for the Russian and western European cultures, combined with their unique sense of humor, led to generic twists and problematic experiments. From another point of view, it is also unusual that southwestern literature diversified locational settings and heroic characters in literary works. European style heros, appearance of multiracial people, pain or waggery experienced by Jews in their assimilation process, thrilling revenge to unfair violence of Russians, and espiegle swindlers are the new domains that southwestern literature pioneered. In summary, southwestern literature was formed in a heterogeneous cultural climate, which was entirely different from the Russian Empire. In this regard, it was in deviation from the Russian literary tradition. From the Soviet point of view, it existed as a heresy which was against the Russian Empire.

• Journal of Conservation Science
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• v.38 no.1
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• pp.45-54
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• 2022

This study examined the production technique of bracket murals in Daeungjeon Hall, Gaeamsa Temple by conducting a analysis of their wall structure, material characteristics, and painting layers. Wall was a single-branch structure with support layer, middle layer, finishing layer, and painting layer. The support layer, middle layer and finishing layer, were produced by mixing sand (quartz, feldspars etc.), and loess. The ratio of above medium sand to below fine sand was approximately 0.7 : 9.3 in the support layer, 4 : 6 in the middle layer and 6 : 4 in the finishing layer, which had a more percentage of above medium sand than the support layer. The analysis of the painting layer showed that natural soil pigment was used to establish a relatively ground layer of up to 50 ㎛, and pigments such as Lead sulfate, atacamite and mercury sulfide were painted on top of the layer. This study's results confirmed that the bracket mural paintings in Gaeamsa Temple are within the category of the production style of murals during the Joseon period. However, the points that the middle layer was formed several times, the significant difference in particle size distribution between the wall, and the absence of chopped straw in the support layer are a feature of bracket mural paintings in Gaeamsa Temple. These properties of murals as material and structure may be viewed for correlation with the degree of damage to wall structure of mural painting and would serve as an important reference to diagnosis the conservation conditions of murals or prepare conservation treatments.

• The Research Journal of the Costume Culture
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• v.31 no.2
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• pp.228-247
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• 2023

In this study, an empirical analysis was conducted on the use of Korean design elements in the Hanbokwave project in 2022 in order to identify the expressed fashion characteristics and define Korean style. A case study was conducted on 98 items of clothing representing 10 Hanbok designer brands, and an analysis card was developed and used that classifies the silhouette of each item in detail. The analysis showed that in addition to the traditional skirt and Jeogori, the four stages of simulakr's image were prevalent in various fashion items such as shirts, blouses, jackets, crop tops, vests, dresses, and pants. In the composition of sleeves, many western clothing methods such as set-in-sleeve use and adjustment, hardcover buttons, and zippers were used to fuse the three-dimensional structure of western clothing and elements of traditional Hanbok to redefine it as postmodernism. It was recognized as a modern fashion, such as the trend of mixing and matching tops and bottoms, not a skirt and Jeogori set, by layering traditional clothes without hesitation or using them as a dress. As for the silhouette of the bottoms, the A-line showed a high frequency, and the prominent shape was identified as a traditional element widely used in modern Hanboks along with the element of wrinkles. This study is thought to be used as practical data for design development for the globalization of K-fashion in the future.

• The Research Journal of the Costume Culture
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• v.9 no.4
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• pp.574-591
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• 2001

This study reviews the concept and characteristics of the deconstruction philosophy in order to analyze the major aspects of the fashion world called the deconstruction fashion based on the deconstruction philosophy, and analyzes the works of Jean Paul Gaultier in terms of Derrida's deconstruction theory. The scope of this research is from 1980 to present, and this study fashion on the many kinds of literature on philosophy, aesthetics and literary criticism, and the domestic and international fashion journals and magazines. The deconstructionism is the philosophical theory which denies the traditionally recognized logocentric metaphysical theory and refuses the closed world and pursues the open world, opposing the dichotomic theory which is the deep-rooted tradition of the Western philosophy. The results of analyses centering on the internal deconstruction trend expressed in the works of Jean Paul Gaultier are as follows. 1 The past style combined with the present appears in the form of the entirely new trace, not the past emotion and meaning in Gaultier's works transcending the time and space. 2 Gaultier presents the unconventional intermeaning of meanings, producing various possibilities according to the wearing method of the wearer by layering several clothes. 3. Gaultier breaks from masculinity and femininity in the intertextuality of gender, and decomposes the fixed idea of men's or ladies'wear through the design sharing bisexual text. 4. In the intertextuality of T.P.O., Gaultier presents the problem of how to wear by mixing different items through obscuring the division of the nature of time, space, and purpose. Especially Gaultier can be called the first designer who, worthy of the father of the deconstructionism, has introduced in the fashion making inner wear like outer wear. 5. In the intertextuality of coordination, Gaultier presents a new perspective of coordination through free combination and contrast, raising a question about the man-made harmony criterion and deconstructing the clothes. On the other hand, Gaultier expresses the intertextuality of the material through the heterogeneous combination of the material. 6. The decomposition trend expressed in the many works of Gaultier reflects an open mind presenting a new perspective through the distortion of the form, exaggeration, and break from the existing construction method. 7. The decentering trend in the works of Gaultier is found to deconstruct the Western-dominated elements against the background of subcultural elements, the elements borrowed from the minority race, md the Oriental culture. 8. The discontinuity clothes of Gaultier present the disordered principle of design without the uniform rules, and express the unrestrained freedom without captivation by the preconceived idea through the disruption of the dress and its ornaments just like Gaultier.