• 대한가정학회지
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• 제38권6호
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• pp.71-79
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• 2000

The purpose of this study was to investigate the relationship between preschoolers'theory of mind and parenting style. The mothers of 66 3- and 4-year-olds were given questionnaires eliciting information about parenting style, SES, number of younger and older siblings, the time child spends with mother. Three variables were positively correlated with theory of mind: age, number of older siblings, and affective parenting style. The time spent with mother was negatively correlated with theory of mind. Factors most strongly affecting theory of mind were child's age and mother's affective parenting style. The resets are consistent with recent research showing that parenting style may be important for theory of mind understanding.

• 복식
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• 제20권
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• pp.63-72
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• 1993

The concept of style provides a useful structure in history of Art. In aspect of formative art, dress and art work are alike, so style is a useful concept in the historical methodology on dress. The main purpose of this study was to apply the art criticism to the historical methodology on dress. For this purpose, documentary studies about style as a tool of historical research were proceeded. The results were as follows : 1. The concept of style consists of the external form and the internal meaning as double roots. Therefore, it's indispensable that the two asp-ects of style, form and meaning, must to be harmonized to describe the historical phenomena in dress. 2. The change pattern of style in dress is not always predeterminate and regular according to the cyclical theory. From the alternative point of view, the change pattern of style could be to describe the continuous theory proposed by kroeber, Brodsky. The whole change of style is considered "liked solution" by this theory.is theory.

• 건축역사연구
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• 제3권2호
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• pp.125-141
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• 1994

Alois Riegl's aesthetic theory of visual perception provided one of important conceptual backgrounds for Vienna Art Nouveau architecture. Riegls theory of visual perception consists of geometric style and two-dimensional transformation. Riegl's theory of geometric style is based on the modern aesthetic theory of abstraction, which says that the artistic perfection can be obtained not from a direct imitation of natural objects, but from an abstract transformation of them. Riegl's theory of two-dimensional transformation, on the other hand, aims at obtaining artistic perfection by disintegrating volumetric conditions of natural things into planes and combining the planes thus obtained into another new world of art. These two theories of Alois Rigl's provided an important aesthetical background for the design strategy of 'abstract ornamentaion of two-dimension' in Vienna Art Nouveau architecture. This paper is to review the basic concept of Alois Rigl's theory of geometric style and two-dimensional transformation.

• 패션비즈니스
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• 제14권2호
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• pp.151-165
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• 2010

The goal of this dissertation is to analyze the change of dress style based upon the 'Difference' theory developed by Gilles Deleuze and Michel Foucault. The methodology for this study consists of literary research, encompassing philosophy, aesthetics, dress and materials derived from internet and case study based upon the analysis of Deleuze and Foucault in the paintings by Bacon, $\acute{a}$, and Magritte. In order to develop the theoretical analysis tool for this study, the period and continuous theories of style change are examined in terms of 'identity' and 'resemblance.' A new framework for analyzing the changes of dress style based upon the 'Difference' theory derived from Deleuze's and Foucault's theories and from their interpretations of paintings was developed. This newly developed theory not only defines that dress style changes under the influence of various conditions such as designer's will, ideology, social structure and technology, but also interprets it as a newly-created style that has nothing to do with the original one. The characteristics that represent 'difference' in change of dress style are deformation, hybrid, absence and resemblance. They are derived from the Deleuze's and Foucault's interpretations of 'difference' represented in the paintings by Bacon, Vel$\acute{a}$zquez and Magritte.

• 복식
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• 제60권7호
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• pp.47-60
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• 2010

The goal of this dissertation is to analyze various Romantic styles appearing in modern fashion based upon the 'Difference' theory developed by Gilles Deleuze. A new framework for analyzing the changes of dress style based upon the 'Difference' theory derived from Deleuze's theory and from his interpretations of paintings was developed. The characteristics that represent 'difference' in change of dress style are deformation and hybridization. They are derived from the Deleuze's interpretations of 'difference' represented in the paintings by Bacon. The aesthetic values of the Romantic style in the 19th century dress are subordination, sensuality, and maternity. And the formative characteristics of the Romantic style dress are suppression of body, fixed form, volume, and ornamentation. The formative characteristics of the Romantic style that have appeared since 1980s is analyzed according to deformation and hybridization and the results are as follows: first, deformation caused by exaggeration or emphasis in the modern Romantic fashion creates changeability of the form, destruction of the 19th century style, volume, and ornamentation. Second, hybridization by combining heterogeneous characteristic between times and genders (for example, the 19th century and modern times or masculinity and femininity) frees body from the dress and changes the dress silhouettes and ornamentation. Thus totally new and different Romantic style is created. The Romantic style in modern fashion changed into the appropriate style to the modern society under various conditions such as designer's will, postmodernism, changes of femininity and technology. It can be said that this is an example of the Deleuze's 'becoming' theory.

• 한국의류학회지
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• 제41권3호
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• pp.433-445
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• 2017

This study uses a macro-viewpoint to investigate how female world leaders' clothing behaviors are different by nation and culture. This study conducted a comparative study on clothing behavior by cultural block in order to understand similarities and differences based on Hofstede's cultural dimensions theory. The findings are as follows. First, the clothing styles of female world leaders are categorized into classical suit style, national traditional style, and eclectic style. Second, classic suit style is more often found in countries characterized by high individualism, low power distance index, and low avoidance index. The style represents individual activity and rationality as well as trust towards women acting in men's roles. Third, a national traditional style is found in countries featuring high collectivism, high power distance index, and high uncertainty avoidance index. These countries share a culture that emphasizes harmony with the whole, rather than any one given part; consequently, clothing style represents a national identity (or the roles as a national member) rather than that of the individual level. Fourth, an eclectic clothing style is expressed in a mixture of classical suits and a national traditional style that depends on how much Eastern and Western cultures are reasonably compromised or Eastern tradition and Western culture coexist.

• 한국게임학회 논문지
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• 제7권2호
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• pp.91-100
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• 2007

본 연구는 HCI 이론을 적용하여 게임형 학습 프로그램을 평가하기 위한 준거를 개발한다. 사람들이 편리하고 즐겁게 사용하도록 하는 시스템을 개발하는 원리나 방법을 연구하는 학문인 HCI 이론은 다양한 영역의 프로그램 개발에 광범위하게 적용되어 왔다. 그리고 학습 프로그램을 평가하는 데도 널리 활용되어 왔다. 그러나 HCI 이론을 적용한 게임형 코스웨어 평가에 대한 연구는 거의 없다. 따라서, 게임형 코스웨어 평가 연구에서도 HCI 이론 적용이 필요하다. 본 연구는 HCI의 구성요소인 유용성(Usefulness), 사용성(Usability), 감성(Affect)의 관점에서 평가 준거를 개발한다. 본 연구에서 개발한 평가 준거는 게임형 학습 프로그램을 평가하는 기준으로 활용될 수 있을 것이다.

• 한국주거학회논문집
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• 제24권6호
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• pp.199-208
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• 2013

Developing a modern Han-style design and providing support for the commercialization development model in recent years has been propelled by the Han-style Support Strategies of the central government in conjunction with Han-style revitalization related projects that reflect the efforts of local governments. Han-style revitalization, the rekindling and revaluing of human behavior and interest in local governments following the social and cultural changes of the past decades, has emerged as an increasingly traditional area of concern in Han-style design. The purpose of the study was to provide a method which clarifies the design rules of the Han-style bathroom based on an evaluation of sensibilities and a rough set theory, and to give the components meaning and to systematize the method. Essentially, the Han-style bathroom design evaluation is a complex multi-criteria decision making process that seeks to improve the effectiveness and objectively of the Han-style bathroom design. Han-style bathroom design can be displayed in a graphical representation in response to input from the evaluation concerning sensibilities. Because the graphical representation is composed of 3D data, it is possible to display the Han-style bathroom design form in any desired perspective and also to perform shading and other operations. With the proposed method, it is possible to obtain a combination of several contributory components which can be referred to as Reducts, Covering Index and Column Score. Han-Style/Non Han-Style Bathroom Designs were identified by the combination of several components.

• 복식
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• 제60권10호
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• pp.118-132
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• 2010

The purpose of the research is to develop a systematic model to interpret makeup signs through a case analysis of makeup shown in Alexander McQueen's ready-to-wear collections from 2001 to 2010 and to prove an importance of makeup as a communication medium to deliver social and cultural values. This research employed Panofsky's Iconology theory to analyze data. This theory consists of three steps to interpret the meaning of a work: (1) pre-iconographical description, (2) iconographical analysis, and (3) iconological interpretation. Alexander McQueen's makeup was analyzed with the three steps in order. As a result of the pre-iconographical description step, makeup styles (icons) in his collections are identified which are Egyptian style, Gothic style, Androgynous style, Victorian style, Fantasia style, and Futuristic variant style. The iconographical analysis step identified that the elements used in his makeup are inspired by his identity and life. In the final step of iconological interpretation, the researcher concluded that Alexander McQueen's makeup expresses social, cultural, and aesthetical value of the time period when the collection was created. His makeup shows postmodernism that accepts a diversity of views (the pluralism) and humanism, romantic narcissism that is his personality trait, and avant-garde that pursues a new, creative aesthetics.

• 패션비즈니스
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• 제24권1호
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• pp.88-101
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• 2020

The music videos of BTS go beyond the limit of media promoting music and shows their meaning in various ways and complete the visual message of music through fashion style. BTS' fashion style in the music videos shows a change in symbolic representation of the genre of each album and song, of which gender images are changing aligned with the music messages of BTS. The purpose of this study was to derive gender images of fashion style in BTS music videos and to interpret their meaning based on Judith Butler's theory that performativity creates discourse through iterative process. It is conducted as a research method, an analytical study was conducted in parallel with literature studies and empirical case analysis. The scope of the study was limited to 301 costumes that appeared in 21 official music videos from debut single album '2Cool 4 Skool' released in 2013 to the mini album 'Map of the Soul: Persona' released in 2019. As a result of the analysis, the controversial fashion style, challenging fashion style, boyish fashion style, hybrid fashion style, the playful fashion style were revealed. The conclusion of studying the gender image of BTS, interpreted by this analysis using Judith Butler's theory, is as follows. The gender image of BTS is the traditional image that identifies with the dominant gender discourse, the resistive gender image that intentionally distances mainstream culture, the eclectic image parodying the gender of the opposing term, and the deconstructive image that transcends the dominant gender discourse.