• 한국가스학회지
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• 제19권1호
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• pp.6-11
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• 2015

이 논문은 자동차 타이밍벨트, 등속조인트 부트, 웨더 스트립에 적용되는 고무시스템의 손상이나 내구성 약화에 대한 사례 연구를 하는 것이 목적이다. 첫 번째 사례에서는 신품의 타이밍 벨트를 교환할 때 벨트의 내구성이 떨어진 벨트를 교환하여 타이밍 벨트와 스프로킷의 마찰작용에 의해 비정상적으로 타이밍 벨트 캔버스가 마멸된 것을 확인하였다. 두 번째 사례에서는 등속 조인트에 그리스의 밀봉역할을 하는 고무 부트의 내구성이 떨어져 경화되고 갈라져 이 틈으로 그리스가 누설된 것을 확인하였다. 세 번째 사례에서는 웨더 스트립이 화학적 변화에 따른 균열로 재료 변형이 생겨 웨더 스트립 고무가 찢어졌다. 이러한 현상은 문을 닫을 때 웨더 스트립 고무를 겹쳐지게 해 운행중 외부공기가 유입되어 미세한 소음이 발생되는 것을 확인했다.따라서, 자동차에 적용되는 고무재질의 부품들의 내구성 약화나 손상으로 인한 자동차의 고장사례가 발생하지 않도록 관리하여야 한다.

• 한국기계기술학회지
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• 제13권2호
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• pp.129-135
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• 2011

Dry CVT(Continuously variable transmission) consists of a driving pulley and a driven pulley joined by rubber V-belt. Each pulley consists of a fixed flange and a movable flange. The movable flange of the driving pulley has the centrifugal roller and a ramp plate in the flange. The movable flange moves toward a fixed flange under the actuation of a centrifugal roller, as the driving pulley speed increases. The main advantages of the Dry CVT with V-belt, which has been popular in Asia, are a simple mechanism, less maintenance and low cost. The important claim which have an influence on the performance of the Dry CVT is the wear of the centrifugal roller. In this study ball type is proposed instead of roller type of movable flange to resolve claim. Also experiments are carried out for new model to evaluate performances.

• 복식
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• 제22권
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• pp.205-224
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• 1994

It was aimed to study the costume of Koryo dynasty based upon the thirty pictures of Bud-dha to hang on the wall among the existing Buddist paintings. The costume to study were made about 64 years during the King Chung-yol(1286) to the King Chung-jong(1350) which style was mostly related in Won Dynasty. 가) Men's wear ; 1. Hair style and hair dress ; Man tied up a top knot and they put on the hat such as a Kuan Kun and Mo. The young boys binds his hair up one, two, and three knot-s, and tied up with a hair ribbon, A kinds of Kuan-mo were Mine-lu-kuan Yuan-yu-kuan, Nong-kuan, Hae-chi-kuan Pok-du Yun-wha-kuan Yip-mo- and Tu-ku(Helmeto) 2. clothes ; 1) Colour of Koryo King's Mien-ku Kuan costume was not agree with blue and reddish black colour which was used in Yo, Song, Kum and Won Dynasty, however black and greenhish blue colour was agreed with. 2) The king wore T'ung-t'ien-kuan(Yuan-yu-kuan) and the government officials wore Chin-hien-kuan Hae-chi-kuan and Nong-kuan as a court dress. In general the king and the Crown Prince wore a hats which was used in T'ung-t'ien system however sometimes they wore small hats which was cited in literature. 3) Gate guard and upper garment wore colourful costume figured gold colour pattern which was distin-gtive costume system of Koryo. 4) A monk wore big sleeve long skirt big sleeve long jacket long skirt and shoulder scar-f full shoulder scarf or right hand shoulder opened scarf. 5) The Soldiers wore helmet shoulder or scarf pee-back hung-kap, pok-kap, yang-dan-g-kap we-yu-kap kun-kap, and boots and they carried arms. 6) The young boys wore scarf, loin cloth, long skirt, belt neckless, wan-silk, boots and foots wear and wristless. 나) Women's wear ; 1. Hair style and hairs and tied up with a hair ribbon and wore precious ston decorated hair dress wheel shape hair dress pan shaped head dress handkerchif covered hair dress decorated precious stone hair pin silk chippon made of head dress muf-fler shaped hairdress. Boots mocasin hae lee, suk and sandle wored as a shoes depends on the classes. They wore neckless, earing wres-tless and wan-pu-sik. 2. Closthe 1) High rank lade's wore un-kyun attached jacket and jacket sleeves decorated pleats and pleats decorated long skirt apron back apron knot belt, scarf this type is the same with Dang Dynasty five dynasty of china Song, Kum Won, Myung Dynasty and our cos-tume of Poe-hae, and Shilla Dynasty.

• 한국의류학회지
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• 제14권1호
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• pp.55-67
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• 1990

This is a review on the longitudinal transformation of the Japanese trousers, which is prepared as a pre-study for the comparative analysis of the forms of Korean and Japanese folk trousers. The special traits of the Japanese trousers are found to be as follows: 1) The Japanese trousers seem to have their root in the Northern-Asian or Schithian culture. 2) While the ancient forms of Japanese trousers, esp., those of the 8C before include the same types as Korean folk trousers, the Medieval and Recent era trousers quite differ and transform themselves into the unique Japanese type. 3) All Japanese trousers can largely be classified into formal and functional trousers. Formal trousers play important role as one of the ceremonial wardrobe and are treated rather as an outermost-wear than as an inner-wear. 4) The formal trousers have skirt-like features with much fullness as are presented in many deep pleats, long crotch lines and long sashes connected to the belt; the femine trousers even omit crotch line. 5) The principal forms of Japanese trousers consist of I, $\wedge,\;\wedge$; the $\lambda$ form of Korean and Chinese type had never existed. 6) Varieties of the composite type of Japanese-Western style appear among the trousers of recent time.

• 한국ITS학회 논문지
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• 제22권5호
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• pp.53-73
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• 2023

교통사고로 인한 인체 상해를 최소화할 수 있는 안전벨트의 착용이 전 좌석에서 의무임에도 불구하고, 안전벨트를 착용하지 않은 교통사고 사상자수는 여전히 많은 비율을 차지한다. 주행차량 내 전 좌석 안전벨트 착용 검지시스템은 탑승자의 안전벨트 착용 여부를 판단하고 착용을 유도하는 시스템으로 안전벨트 미착용 사상자수 감소를 위한 유용한 기술적 대응방안이 될 수 있다. 본 연구에서는 첫 번째로 순서형프로빗 모형을 활용한 교통사고 상해심각도 영향요인 평가를 통해 시스템 도입에 대한 타당성을 제시하였다. 분석결과, 안전벨트 착용 여부는 교통사고 상해심각도에 통계적으로 유의한 영향을 미치며 안전벨트 착용 시 사망 및 치명상에 이를 확률이 0.054배 감소하는 것으로 나타났다. 두 번째로 안전벨트 및 교통사고 상해와 관련된 선행연구를 기반으로 메타분석을 수행하여 시스템 도입 시 기대되는 사고심각도 감소효과를 추정하였다. 사고심각도 감소효과 분석결과, 안전벨트 착용 시 사망사고가 63.3% 감소할 것으로 분석되었으며 앞좌석은 75.7%, 뒷좌석은 58.1%의 사망사고 감소효과를 갖는 것으로 나타났다. 마지막으로 메타분석 결과와 교통사고 통계자료를 기반으로 시스템 도입 시 기대되는 교통사고 사상자수 감소효과를 도출하여 시스템의 교통안전 측면 효과를 분석하였다. 시스템 도입률이 증가함에 따라 안전벨트 미착용 교통사고 사상자수가 감소하였으며 시스템 도입률이 60%일 경우 사망자수는 현재 대비 3배 이상 감소할 것으로 예상되었다. 분석결과를 활용하여 안전벨트 착용률을 높이고 사고심각도를 저감시킬 수 있는 시스템 운영 방안을 제시하였다.

• 한국의류학회지
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• 제21권1호
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• pp.119-128
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• 1997

The purpose of this study is to examine the military look, which is one of the most popular fashion trends in the 1996 women's fashion. Military look is that imitates or reinterprets the Army uniform which is functionally useful. After World War 1 , military look appeared in the women's fashion which is functionable tailor suits style, ankle-length skirt, pants or boiler suits for work wear, overcoat against the cold, and there was an attempt to introduce a National Standard Dress. In the middle of World War II, there was a similiar circumstance in women's military fashion. There were functionable tailor suits, knee-length skirt, pants or siren suits for work wear. And the Utility Dress was nationally recommended. In addition, the regulations were introduced to control the materials and styles used for some clothes. In the 70s, as the resistance movement as counterculture began to wear Army look which was army-uniform or army caps with 'US ARMY' logo and badges, and became very popular among the youth. In the 90s, military look has got one of the fashionable fashion themes with revival of Neo- Hippie look. Not only street fashion but also high fashion designer selected the trend for '96A/W The characteristics of the military look are khaki colors or camouflage prints, epaulets, big outpockets with flap, golden buttons and army belt. As I examined, during the World War I and ll, women wore the military look because of shortage of goods and work or service, and it was recommended by government. Though the military look in 70s, began by the resistance movement, at least it became a popular fashion. Military look in 90s, does not have inner symbolic meaning or ideology but it only represents fashion trend and revival fashion.

• 복식문화연구
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• 제31권6호
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• pp.776-792
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• 2023

This study aims to analyze the traditional attire of four ethnic minority groups in Northeastern China: Daur, Ewenki, Oroqen, and Hezhen, considering their natural environment, lifestyles, and cultural influences. A literature review of academic papers, books, and online resources was conducted, along with indirect investigations through artifacts. The Daur people, being equestrian, have garments with deep slits, vibrant colors, and elaborate decorations. The Ewenki people wear clothes made of fabric in the summer and primarily deer skin in the winter, and their clothing is simple and not flashy. The Oroqen people's clothing typically has slits at the front, back, or on both sides, and they wear a waist belt. The Hezhen people, an ethnic group that primarily hunts and fishes, wear two-piece clothing with a hip-length top and pants or other fur-trimmed garments. All groups incorporate symbolic patterns influenced by Shamanism, along with animal headgear and leather shoes. We observed that the traditional costumes of ethnic minority groups in Northeastern China share many commonalities in form, but there are detailed differences in material, shape, color, and decoration due to unique geographical and climatic characteristics as well as differences in livelihood. Additionally, the structure of clothing varies depending on each tribe's shamanistic practices and lifestyle.

• 복식
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• 제5권
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• pp.173-183
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• 1981

In 1895(32nd year of King Ko-Jong), Kyung-moo-chung as westernized police system was established and the uniform of the police developed. Regarding to the Uniform of the Kyung-bu-dai-sin(the Minister Kyung-bu) and to that of the Sun-gum(the low position of the Kyung-bu police), the Kyung-bu costume(Uniform of the police) is divided as Ye-bok(Formal uniform) and Sang-bok(Informal uniform). Ye-bok(Formal uniform) is put on in the case of the law described, and Sang-bok(Informal uniform) is an everyday wear. Ye-bok(Formal uniform) is composed of Ye-mo(hat), Eui(jacket), Go(trousers), Dai(decorative belt), Do(decorative sword), and Hwa(footwear). Sang-bok(Informal uniform) is composed of Sang-mo(hat), Eui(jacket), Go(trousers), and Hwa(footwear). Differences between Sang-bok(Informal uniform) and Ye-bok(Formal uniform) is the materials of the ornament, numbers of the decorative lines. Ye-bok(Formal uniform) has more grandeur[ornament. A historic changes in the Kyung-bu costume(Uniform of the police) during the late of Yi Dynasty was little but the decorative materials and the numbers of the decorative line.

• 복식문화연구
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• 제11권5호
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• pp.671-682
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• 2003

The purpose of this study is to analyze styles of costume and understand meanings related to costume embodied in the images of Buddha in Baekche period. Visual and textual analysis of the paintings include the images of Buddha in Baekche period was used for the research. The results of this study were summarized as fellows; Budah's hair style is identified as simple, Gae. Buddha wears Sanghati(outer wear) made of Tongeun and Peundanwoogeun, and many cases Sanghati made of Tongeun are usually seen. Three kinds of upper garment were identified; Samkaksika, right and left crossed upper garment, and Peunsam. Samkaksika was frequently seen in the paintings. Lower garment was a Nirasana reach to the ankle, was worn with a belt. Two skirts were also seen occasionally. The symbolic meaning of costume of Buddha was related to its religious meaning and identified as majesty and saintliest, which is harmonized with her simple costume styles. The wrapped style of costume, which did not show the contour of the buddha's body adds mystery. Also, the styles of costume created by different wrapping methods signify originality.

• 한국의상디자인학회지
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• 제13권2호
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• pp.175-183
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• 2011

Based on an investigation of Miao ethnic group costumes, this research focuses on redesigning and reinterpreting of the Miao costume. The results are summarized as follows. According to the constitution of the clothes, the decorative parts and the way people wear them, women's clothing can be divided into five categories: Sangseohyeong, Geomjungnamhyeong A, Geomjungnamhyeong B, Cheongeomjeonhyeong, Haenamhyeong. Miao consists of straight lines with creases for both skirts and trousers. With the excess part of the belt or apron, X-shape and H-shape are formed. There are three basic decorative patterns: geometric patterns, animal patterns and plant patterns. In addition, there are three color values: warm, cool and dark. Silver Jewelry plays such an important role in the Miao Costume that the process of the production is also very special for the Chinese national dress. According to the features of the five types of Miao, then redesign and re-interpreted of them.