• Clinics in Shoulder and Elbow
• /
• 제26권2호
• /
• pp.109-116
• /
• 2023

Background: Golf is a popular sport involving overhead activity and engagement of the rotator cuff (RC). This study aimed to determine to what level golfers were able to return to golf following RC repair, the barriers to them returning to golf and factors associated with their failure to return to golf. Methods: Patients preoperatively identifying as golfers undergoing RC repair at the study centre from 2012 to 2020 were retrospectively followed up with to assess their golf-playing status, performance and frequency of play and functional and quality of life (QoL) outcomes. Results: Forty-seven golfers (40 men [85.1%] and 7 women [14.9%]) with a mean age of 56.8 years met the inclusion criteria, and 80.1% were followed up with at a mean of 27.1 months postoperatively. Twenty-nine patients (76.3%) had returned to golf with a mean handicap change of +1.0 (P=0.291). Golf frequency decreased from a mean of 1.8 rounds per week preinjury to 1.5 rounds per week postoperatively (P=0.052). The EuroQol 5-dimension 5-level (EQ-5D-5L) index and visual analog scale (EQ-VAS) score were significantly greater in those returning to golf (P=0.024 and P=0.002), although functional outcome measures were not significantly different. The primary barriers to return were ipsilateral shoulder dysfunction (78%) and loss of the habit of play (22%). Conclusions: Golfers were likely (76%) to return to golf following RC repair, including mostly to their premorbid performance level with little residual symptomatology. Return to golf was associated with a greater QoL. Persistent subjective shoulder dysfunction (78%) was the most common barrier to returning to golf.

• 복식
• /
• 제55권8호
• /
• pp.57-72
• /
• 2005

Mongdueui(蒙頭衣) and mongduri(蒙頭里) in the Joseon dynasty was one of women's robe. The style of Mongdueui was same as Chinese baeja(褙子 $\cdot$ vest) having non-overlapping front opening with collar, This form was conformed through the wonsam excavated baeja from tomb of South Song dynasty. The basic construction was same as Joseon dynasty's except the collar. In the early Joseon dynasty the noble women wore Jangsam(長衫) as an outer wear, the common and lower class women wore Mongdueui, and the queen and royal household we baeja. The court lady wore baeja as well as Mongdueui for funeral ceremony. The style of women's robes was classified into two categories by the literature Byungwajip(甁窩集). The first was the hongjangsam(紅長衫長) in red for noble women. The other was the mongduri for the common lady. Whangchosam the outer wear of Jeongjaeyong(呈才女伶), a professional women entertainer, having non-overlapping front opening with collar, has been examined in the painting. And it had been evolved into the shaman's clothing in the last stage of Joseon dynasty.

• 한국의류학회지
• /
• 제2권1호
• /
• pp.133-143
• /
• 1978

This study is a latter series of 'A Study on the Changes of Court Dresses in the Yi Dynasty' (see Journal of the Korean Society of Clothing and Textiles Vol. 1. No. 2. 1977), and tries to discuss the additional clothing style--- Hapee(하피), Mal(말), Sang(상), Daedae(대대), Pesle(폐슬) and Seock(석) as well as how to obtain the textile fabric used in queens' wedding ceremony and Noeyoe(노의) and Jangsam(장삼). Through Karedogam(가예도감), it can be found that as queen's casual dress gold-round-pattern Noeyoe(금원문노의) was used, and the royal princesses wore Dan Noeyoe(단노의). Noeyoe was long in back and short in front and it was very luxurious with the two-phoenix pattern. Jangsam was queens' casual dress, and the royal princesses wore simple and double Jangsam. In public, the wives of the officials above the 5th-Class in status wore Jangsam; Noeyoe is a higher-class dress than Jangsam.

• Archives of Plastic Surgery
• /
• 제47권6호
• /
• pp.567-573
• /
• 2020

Background Polyurethane implants have been used on and off in breast reconstruction since 1991 while prepectoral breast reconstruction has gained popularity in recent times. In this study, we present our outcomes from the use of acellular dermal matrix (ADM) complete wrap with polyurethane implants in prepectoral breast reconstruction. Methods This is a retrospective review of prospectively maintained database from 41 patients receiving complete ADM wrap with prepectoral polyurethane implants over a 3-year period. Selection criteria were adapted from a previous study (4135 Trust Clinical Audit Database) evaluating prepectoral reconstruction with Braxon matrices. Patient demographics, operative data, surgical complications, and outcomes were collected and analyzed. Results A total of 52 implant reconstructions were performed in 41 patients with a mean follow-up of 14.3 months (range, 6-36 months). The overall reported complication rates including early (less than 6 weeks) and late complications. Early complications included two patients (4.9%) with wound dehiscence. One of which had an implant loss that was salvageable. Another patient (2%) developed red-breast syndrome and two women (4.9%) developed with seroma treated conservatively. Late complications included one patient (2%) with grade II capsular contraction, 12 patients with grade I-II rippling and two patients (4.9%) with grade III rippling. Conclusions We present our experience of prepectoral polyurethane implant using complete ADM wrap. This is one of the few papers to report on the outcome of the prepectoral use of polyurethane in immediate implant-based breast reconstruction. Our early observational series show satisfactory outcome and long-term results are warranted by a large multicenter study.

• 복식문화연구
• /
• 제17권6호
• /
• pp.1112-1128
• /
• 2009

The purpose of this study was to develop royal costume design with contemporary taste depending on the character of hero, Lee San, and time flow of TV historical drama and research design discrimination and creative expression. As study methods, the literature study using books and theses concerning costume, fine art, culture and history were used for theoretical background and the empirical study method manufacturing actual costume on the basis of literature and relic were used for dress manufacture. The design concept of costume was modern & chic & clean. The costume was designed through straight silhouette, clean & bright colors excluding prime colors, style transformed to permanent straight pleats on the basis of chulik, 100% silk material focusing on high quality and pattern & decoration of the age of Three Kingdoms. As results, the designs of princess' official rob, day dress and chulik, and emperor's official robe, chulik, military dress and chun-dam-bok were developed. The design discrimination depending on social status change. In the period of princess, black, white, silver and blue were used but in the period of emperor, red, gold and black were used. It was expressed through dragon pattern and extended length used in cloth. The design discrimination depending on character change was visualized through color. Although it is not consistent with historical investigation, contemporary fashion design elements were added to royal costume through color contrast of black & white, permanent straight pleats, velcore, wristlet, extended length and layered-look.

• 복식
• /
• 제61권10호
• /
• pp.55-71
• /
• 2011

Court ladies' tasks were largely divided into two. First, if there is a royal family event, such as the royal family's wedding or feast, they followed the rules and regulations of work division that was defined in "Gyeonggukdaejeon". Secondly, during normal days, they were divided into Jimil (至密), Chimbang (針房), Subang (繡房), Sesugan (洗手間), Saenggwabang (生果房), Naesojubang (內燒廚房), and Oesojubang (外燒廚房) and took charge of female work that was needed daily at the palace including serving, cooking, laundry, needlework, embroidery, cleaning, and nurturing. This organization was operated by different palaces such as the daejeon(king's palace), daebijeon(queen dowager's palace), junggungjeon(queen's palace), or sejagung(prince's palace). Court ladies were selected among female slaves of the government office or naesusa(a ministry of royal household properties). Although commoners were forbidden to be selected, they sometimes became court ladies voluntarily for financial reasons or because of the will of their parents. Court ladies had different appearances according to the division they belonged to. The court girls of Jimil, Chimbang, and Subang wore saeangmeori while court girls from other places had braided hairstyles. At Jimil, they wore all different kinds of chima(skirt) and jeogori(jacket). Usually, court ladies wore navy chima, jade jeogori, green gyeonmagi(top jacket) with the uyeomeori hairstyle. When working in the evening, they wore pink jeogori or yellow-green jeogori, navy chima with the jojimmeori hairstyle for easiness to stay up all night and work. Navy chima was worn by court ladies. If there was a royal family event upper court ladies wore uyeomi, black or green wonsam, and stewards wore garima and dangui.

• 복식
• /
• 제64권7호
• /
• pp.11-28
• /
• 2014

Chinyoung(親迎) is one of the detailed procedures of a wedding ceremony, of which the bridegroom visits the bride's home to receive and bring her to his home. And, Procession Illustration (班次圖) is a type of drawing that shows how people of various social classes are arranged in their predetermined positions in a royal ceremony. Thus, 'Chinyoung Procession Illustration(親迎班次圖)' refers to the drawing of the march in the course of Joseon's royal wedding ceremony, in which the bridegroom receives and brings the bride to his home. This paper aims to reconstruct the Chinyoung Procession Illustration for a princess as an image, which has never been done. There are no drawings or pictures of the princesses' Chinyoung Procession, but only written records. Thus, we completed the Procession Illustration by dressing the participants in accordance with their social classes and arranging them in the march. The arrangements were based on historical records of social classes, positions, number, and costumes. As for the princesses' weddings in the late Joseon period, a total of 18 wedding records remain. We selected Princess Bok-On's (福溫公主: 1818~1832) wedding as the subject of reconstruction as it had the greatest number of participants. In addition, due to the great number of participants, this study limits its focus to the female participants, with the male participants to be examined in future research. The result confirmed that the number of participants in Princess Bok-On's Chinyoung Procession was 184, including the bride and bridegroom, and the number of female participants was 26 in total, including the princess and women placed around her. The women participants wore Rip(笠), Neoul(羅兀), Jeonmo(氈帽), Garima(加里磨), Noeui(露衣), Hwaleui(豁衣), Dangeui(唐衣), Jeogori(赤古里), Chima(赤亇), Malgun(袜裙), Daedae(大帶), Onhye(溫鞋), Dokhye(禿鞋).

• 복식
• /
• 제57권1호
• /
• pp.176-186
• /
• 2007

The purpose of this study is to reconstruct upper class women's costume of 'Mongol-pung' and 'Goryeo-yang' in a civilization-exchanged period between Mongolia and Korea, for making movie or soap opera costume and historical animation. 'Mongol-pung' was a cultural influence from Mogolia to Korea. For example, sleeveless bi-gap(比甲) and half-sleeved dap-ho(搭忽) were put on by many women at that time. On the basis of old literature, I suggest a 'Mongol-pung' costume as a set of seeran-chulrik(膝欄 terlig), em-broidered bigap, dapho of meat-red color for women. 'Goryeo-yang' was a cultural influence from Korea to Mongolia. Due to old poem of Yuan, 'Short outer Jacket with square neckline, half sleeves, and clear color(方領過腰半臂)' was a representative of 'Goryeo-yang' in Mongolian royal women's costumes. Many women were dressed in it with short inner jacket and wide skirt. In the case of making soap opera costume, the budget of broadcasting station, appearence of nowaday's actor and actress, similarity between old fabric and modern fabric must be considered altogether.

• International Journal of Costume and Fashion
• /
• 제14권2호
• /
• pp.19-32
• /
• 2014

The sewing machine was the most widely-advertised item in mid-Victorian English periodicals. However, no historians have so far analyzed how English advertisers created the link between the domestic sewing machine and middle-class women, or what impact they may have had on gender relations. This paper treats sewing machines as a medium to enhance our view of gender and social history, consumer culture as well as material culture studies. Studying the advertisements of sewing machines reveals the traditional values and modern consumer culture of mid-nineteenth England, and also offers a sense for how advertisers expected people to react. Sewing machines could not only offer women aspiration and authority, but could also function as a timesaver through which a woman could attain a truly modern lifestyle. Buying a sewing machine for their wives symbolized their status as a breadwinner and a caring husband, as well as serving as an appreciation of their wives' domesticity. Sewing machines also provoked anxiety for both sexes because some believed that women would lose their morality and gender identity, whereas others believed that if relieved of domestic drudgery women would have time to educate themselves, which threatened to men and the gender hierarchy.

• Human Ecology Research
• /
• 제56권2호
• /
• pp.195-203
• /
• 2018

Online game digital hanbok has an aesthetic value in a digital culture and is useful for developing a digital hanbok design for online games as well as other industries. This thesis analyzes its attire and design composition elements to design a 3D digital hanbok by utilizing its formative characteristics. The literature review defines them as transmutability, virtuality, fictionality, reality and playfulness based on the characteristics of digital media, late digital generation and online games. We analyzed 471 images from 50 online games. Sonmaep was used for making 3D digital hanboks. Its attire was grouped into jogori pants, jogori chima, po and armor. Its design composition elements were classified as pleat, layering mu or hemline, mu sub gyeopmagi mitbadae, vent, git dongjung and decoration elements. The results feature 8 digital hanbok designs. Reality designs are replicas of jogori daegugo for men and po for women in the period of the Three States. Virtuality designs are slightly changed shapes of yoseoncheolrik for men and white jogori yellow chima for women in the Koryo Dynasty. Fictionality designs are casual fusion armors for men and women as a hyperbolic form. Playfulness designs are doll costumes for men and jogori chima for women as a kitsch and childish style. The concept of online game digital hanbok escapes from conceptual limitations of traditional hanboks. This result can be used for designing digital hanbok contents in various industrial parts.