• International Journal of Advanced Culture Technology
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• 제11권2호
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• pp.10-29
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• 2023

Grit or perseverance as a factor for student success and life has gained increasing attention. Statistical methods have been the norm in analyzing various aspects of grit, but they do not address the transient and dynamic behavior well. We, for the first time, developed two linear dynamical models that specifically address the feedback structure of a child's desire to achieve a high grade point average (GPA) and the necessary effort that will increase stress between parents and a child. We call the dynamical model as GSES (Goal, Status, Effort & Stress). The two dynamical models incorporate the positive (i.e., achieving a high GPA) and the negative sides (i.e., effort and elevated stress and thus unhappiness) for being gritty or perseverant. Different types of parenting style and a child's characteristics were simulated whether parents and a child are empathetic or stubborn to their expectations and stress (i.e., willing or unwilling to change). Simulations show that when both parents and a child are empathetic to each other's expectation and stress, the most stable situations with minimal stress and effort occur. When a stubborn parent's and a stubborn child were studied together, this resulted in the highest elevation of stress and effort. Stubborn parents and a complying or empathetic child resulted in considerably high stress to a child. Interference from parents may unexpectedly result in a situation in which a child's stress is seriously elevated. The GSES model shows the U-shaped happiness curve (i.e., reciprocal of stress) caused by the increasing and then decreasing goal

• 한국전기전자재료학회:학술대회논문집
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• 한국전기전자재료학회 1992년도 추계학술대회 논문집
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• pp.118-122
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• 1992

In this paper, the properties of Thermally Stimulated Current was studied to understand carrier's behavior of $PVF_2$ film, to be regarded as the excellent piezo and pyroelectricity. The complex relaxation curve of Thermally Stimulated Current was divided into single relaxation style using Thermal Cleaning method. As a result of Applying the numerical method of asymtotic estimation to the divided single relaxation peak, we could calculated the physical factors related to charged particles of the specimen, more accurately.

• 복식
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• 제58권5호
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• pp.118-133
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• 2008

The basic costumes of the joseon dynasty such as pants and jackets were not particularly distinctive over the period in comparison to po. The coat that was worn over pants and jacket, however, had different forms in the course of the joseon dynasty. In this paper, I will analyze the changing style of pyeonbokpo, the daily costumes of Joseon man, which were excavated in recent years. Changes in the collar style were the most distinctive of joseon pyeonbokpo such as cheolik, dapho, aekjueum, jikryeong, daechangyeui, jungchimak, and juyeui. Although pyeonbokpo had double collars in the early joseon dynasty, they disappeared in the seventeenth century: a straight line also replaced by a curve for the collar perimeter. Front-adjusting of pyeonbokpo was very deep in the early joseon dynasty; front-adjusting became simple in the late joseon dynasty, resulting in the central positioning of a ribbon. The rectangular form of a gusset(mu) was stitched to the bodice through various pleats. Gusset patterns changed greatly into various forms in the seventeenth and eighteenth centuries, along with the ladder gusset form. The long vest(dapho) was half-sleeved and had a deep front adjustment in the early joseon dynasty; however, it did not have collars and sleeves since the eighteenth century. The waist line of cheolik had the ratio of 1.2 to 1 for the bodice to skirt. But the length of skirts grew gradually into the ratios of 1 to 1, 1 to 2, and 1 to 3.8 while the waist line moved upwards to the chest line. Sleeves of all po had a straight form but they gradually developed the tendency to widen towards the wrists. Later, sleeves changed again, having a wide rectangular form starting from the armpits. Cheolik was widely worn in the early joseon dynasty; however, it was worn less in later years. Instead, clothes that had slits such as dopo, daechangeui, and jungchimak were greatly available. These characteristics of the change in men's costumes enable us to measure the time period of excavated findings despite the lack of records for Joseon graves.

• 복식문화연구
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• 제9권1호
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• pp.73-85
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• 2001

The human body is a subject to represent one's thoughts and feelings more easily. Historically, the women's body has become a implement to express an ideal of beauty with the changes of the times and it has created some ideal boy by various means.We have been influenced consciously or unconsciously by the ideal body made artificially. As fashion dolls and mannequins came out with various style in he 19th century, the fashion and the ideal body of those days were expressed completely. In the 20th century, it took as a matter of course that commercialization of fashion made persue the ideal body, so mannequin as a transmitter of esthetic presentation were used to express the ideal body. Mannequin is a implement to express an ideal body of that times, because mannequin, when it is made, is exactly embodied fashionable images of that times which include a ratio of the human bodys curve, a pose, an ample bosom, a fashionable dress and so on. This study considers changes of the ideal body and the fashionable clothes in each generation from the 1920's to the present time, and, on the basis of this, the correlation of the ideal body with the form of mannequins. And this study examines what kind of mannequins, that is, realistic mannequin, sculpture mannequin, and abstract mannequin.

• 한국HCI학회:학술대회논문집
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• 한국HCI학회 2008년도 학술대회 1부
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• pp.733-738
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• 2008

음열 음악은 쇤베르크가 창시한 20세기 음악의 중요한 작곡 기법중 하나이다. 이 음악은 범조적인 혹은 무조적인 특정을 가지며, 이로 인하여 독특한 현대 음악의 분위기를 생성하게 된다. 본 논문에서는 수학적 알고리즘을 이용하여 음열 음악을 생성하는 방법을 제안하고자 한다. 본 논문에서 소개하는 방법은 음열음악에 대한 쇤베르크의 엄격한 정의보다는 더욱 자유로운 형태를 띄지만, 전체 음악 내에서 12개의 음이 사용되어야 한다는 규칙은 만족한다. 이를 위하여 원형 음열 및 원형 음열의 전위과 전조로 구성되어있는 음열도표를 자유롭게 탐색하는 공간 채움 곡선을 이용한다. 임의의 공간을 한번만 탐색하는 성질을 가진 이 곡선을 사용함으로써, 음열 도표에 있는 모든 음을 한번씩 사용하면서도 적절한 반복성을 띄는 음악을 생성할 수 있다. 따라서 생성된 음악은 원래의 음열 음악의 특징인 범조성 및 무조성을 유지하면서도 현대음악에 친숙하지 않은 사람들에게도 보다 쉽게 접근하는 음악을 생성할 수 있다는 장점이 있다. 또한 다차원 공간 채움 곡선을 이용하여 음의 길이 및 세기까지 음열을 사용하는 더욱 확장된 형태의 음열음악을 생성하는 방법도 소개한다.

• 패션비즈니스
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• 제1권2호
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• pp.1-19
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• 1997

This thesis is a reflection of Korean aestheticism and how it has evolved and influenced Korean contemporary fashion throughout the last century. Up to the current, there have been five notable trends of fashion that have been influenced from and have reflected the qualities emblematic of various periods in Korean history. They can be characterized as the era of Missionary fashion, Uniform fashion, Salon fashion, Brand Name Fashion, and finally, fashion from the current era of diversification. The specific characteristics of each fashion era have been analized and illustrated in a comprehensive table. Design characteristics of Korean contemporary fashion are as follows : 1. A point of emphasis is given to facial feature, unconstructive design and ample silhouette and A silhouette, two-piece and pants. Korean style wrap skirt, a smooth curve and layered style. 2. Effect of flatness from material; as methods of quilting, reinforced dual stitching(Kaeki), patchwork, embroidery and goldfoil thread extra, it is turned up that texture of cloth stuff and effects of flatness. 3. Simple color combinations give effects in two different directions For instance, white and a variety of vivid colors, a dull color and bright colors, black, blue. 4. Over-design, diffusion of fashion. Based on the design characteristics described above, the essence of Korea's beauty consciousness can be captured and summarized through the following points: 1. Emotionalism and non-characterism: traditional and simple natural beauty and modernized natural beauty. 2. From authoritism to non-authoritism: traditional and formal personal beauty and casual characteristic beauty. 3. Polaris (antithesis) phenomenon: chastic beauty and ostentatious beauty, simplicity and lavishness, conformity of fashion and originality. Although the beauty consciousness of Korean contemporary fashion is changing from traditional passive metaphor to aesthetic expressionism for the new generation, after all the basic foundation or root of the spiritual beauty of idealism is usually recognized by focusing on the face.

• 패션비즈니스
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• 제15권5호
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• pp.69-86
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• 2011

The objective of this research is to unveil the dynamic changes of the trends in wedding dresses during the 20th Century. The studies were carried out in two forms; firstly by observing the actual wedding dresses worn by people at that time, and secondly by conducting formative comparisons between those dresses with the ones appeared in movies corresponding to that period. Movies provide an invaluable insight into the era's wedding dresses fashion trends since they function as intimate bridges in connection with the time's audience, and the visible imageries accurately reflect the characteristics embedded within that time frame. As there are no precedent studies regarding this topic, this thesis can serve as vital research data for the wedding dress industry. Research data regarding the actual wedding dresses were collected from books and museum web sites. The object of movies were films produced before World War II that contained both the background settings of the 20th Century and wedding dresses, of which photographic imageries were captured. Research analysis was then conducted by merging these data with findings from relevant books and internet materials. The results of the thesis are as the following: The 1900s was an extension of the 19th Century's popular fashion trend which can be characterized as the S curve silhouettes of the Edwardian period when long trains and long veils symbolized wealth and social power. In the 1910s, high waist silhouettes with soft wrinkles were prevalent as attire suitable for active mobility with practical functionality were highly regarded. During the 1920s, the flapper style became the dominant trend. Hem lines of the skirts were curled in the form of the scallop and laces were the most widely used raw materials. By the 1930s, wedding dresses that reinterpreted the glamorous sheath lines, practical two piece styles, and retro-styles became predominant. The 1940s saw the advent of ready-made wedding dresses made of synthesized materials; practical military style suits and casuals sometimes substituted the wedding dresses. And although the wedding dresses in the movies were primarily costumes to express the personalities of the characters, they were also reinterpreted as manifestations of the formative characteristics of each relative period that pursued very distinct and diverse features.

• 한국의류학회지
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• 제21권8호
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• pp.1353-1364
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• 1997

The purpose of this study is to present a theoretical framework for analysis and interpretation of medieval look in fashion by investigating its aesthetic values. Accordingly, it would provide a better understanding of the medieval culture with its composite aspects. Modernism sought to make the Middle Ages in its own image.'New Medievalism' has on the whole tried to avoid reading the Middle Ages onto the modern world. Instead it designates a predisposition about the discipline of medieval studies broadly conceived. Consequently, it has changed the viewpoint of medieval culture from the one-sided angle into the diversified one. As recent studies based on New Medievalism have argued, a close look at the medieval culture revealed the dualistic nature of it, with contradictory aspects such as piety and secularity, ideality and formality coexisting. The characteristics of the medieval culture are categorized to asceticism, naturalism, mysticism and secularism. Asceticism, which is responsible for the melancholic and heavy atmosphere of the medieval culture, is related to christianity and despair of life. It is expressed in medieval dress in forms of body-concealing semi-fitted silhouette, coarse texture and dark color. As a reaction to the extreme splendor and exposure of recent fashion, the ascetic medieval look is attracting attention. The monastic look is characterized by body-concealing silhouettes and minimalized usage of colors and details. Naturalism is the feature seeking for purity of the nature and the human itself. It appears in terms of line as a smooth curve flowing along the body contours, or as a revival style of the Greco-Roman drapery in the medieval dress. Naturalism in the medieval look of the late 20th century fashion is expressed as a pure image with the use of sheer and soft fabric to form a smooth curve flowing along the body contours. Mysticism symbolizes the authority of the Christ and the glory of heaven. It is presented in the medieval dress of the body-concealing straight silhouette made of gorgeous fabrics, brilliant colors and decorations by gems and gold. The insecurity caused by the fin-de-siecle mood is creating a strong interest in religion and it is reflected in fashion as a medieval look reviving the solemn and magnificent style of the medieval dress. Secularism is a reflection of the medieval mind of indulging in the beauty of the mundane world. Heraldry and excessive decorations of the medieval dress are forms of this secularism. These styles of gorgeousness are being refined into a new medieval look of the 1990's. The medieval look of the modern fashion is featured in various styles, reflecting the pluralism of the postmodern society.

• 한국의류학회지
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• 제35권8호
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• pp.991-1005
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• 2011

This study researches the historical production, process, and design method for 3 pairs of corsets in $18^{th}$ century France. In the analytical stage of historical materials, it grasped the kind, form, origin, and change in style through a lexical definition of relevant terms. Through a precedent study on Garsault's 'L'art du tailleur', preservation costume, and historical reconstruction of pattern in preservation costume, it confirmed corps size, silhouette, pattern form, and material for historical production. The sewing method and the producing sequence were analyzed. In the production stage, 3 selective models in corps plein baleine, corps demi-baleine, and corset were historically produced. With neckline of forming broad Letter U, the bust part is covered roundly. The bodice was composed of 10 panels based on the corps form in the mid-$18^{th}$ century of following a curve of a human body. A shoulder strap was allowed to make the arm movement comfortable by producing and attaching it separately. The cutting line except the center in the front and the back of vertical line was distributed according to the natural flow of a form and movement of the human body. The curve-based pattern line was confirmed.

• 패션비즈니스
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• 제7권6호
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• pp.10-20
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• 2003

The object of this research is to develop the designs with aesthetics and function for making the uniforms of specialty restaurants of Korean dishes in pursuit of the image of excellent dignity and its result is as follows: As for designs, this research chose the traditional image as the basic concept and made visual Korean lines, colors, and patterns. As for lines, it made visual the curve of the eaves, the straight line of polls, and the fret of windows and doors represented in architecture and applied them, as for color tones, it chose traditional 'Obangsaek', five direction colors. As for the patterns, it symbolized 4 trigrams( Geon, Gon, Gam, and Yi), the cloud pattern, also it tried to get the formative beauty from traditional patchwork wrapping cloth and windows and doors. The expectant effects on the design of Uniform are as follows: First, it offered basic clothes for male and female employees working in the hall and suggested two kinds of skirt and pants for the latter. It tried to find out both the function of pants and the female beauty of skirts by wrapping on pants to eliminate the feeling of rejection towards the style of them, the use of which have been recognized for man only in spite of many merits of them. Second, it sought for the characteristics of shape on collar, breast-tie, and fold etc. of Korean clothes and designed clothes according to each employee's role and finally emphasized their traditional aesthetics.