• 한국운동역학회지
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• 제29권2호
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• pp.79-88
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• 2019

Objective: The aim of this study was to determine the peak torques of the knee and ankle joint and local stability of the lower extremity's joints, and muscle activation patterns of the lower extremity's muscles between fallers and non-fallers in the elderly women during walking. Method: Four elderly women (age: $74.5{\pm}5.2yrs.$; height: $152.1{\pm}5.6cm$; mass: $55.3{\pm}5.4kg$; preference walking speed: $1.19{\pm}0.06m/s$) who experienced falls within six months since experiment had been conducted (falls group) and thirty-six subjects ($74.2{\pm}3.09yrs.$; height: $153.6{\pm}4.9cm$; mass: $56.7{\pm}6.4kg$; preference walking speed: $1.24{\pm}0.10m/s$) who had no experience in falls (non-falls group) within this periods participated in this study. They were measured torque peaks of the knee and ankle joint using a Human Norm and while they were walking on a treadmill at their natural pace, kinematic variables and EMG signals were collected with using a 3-D motion capture system and a wireless EMG system, respectively. Lyapunov Exponent (LyE) was determined to observe the dynamic local stability of the lower extremity's joints, and muscles activation and their co-contraction index were also analysed from EMG signals. Hypotheses between falls and non-falls group were tested using paired t-test and Mann-Whitey. Level of significance was set at p<.05. Results: Local dynamic stability in the adduction-abduction movement of the knee joint was significantly lower in falling group than non-falling group (p<.05). Conclusion: In conclusion, muscles which act on the abduction-adduction movement of the knee joint need to be strengthened to prevent from potential falls during walking. However, a small number of samples for fallers make it difficult to generalize the results of this study.

• 한국의상디자인학회지
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• 제6권3호
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• pp.169-183
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• 2004

This study attempts to understand women's underwear culture in the Later Chosun Dynasty, by investigating the kinds and constructions of them, which formed bulky and puffed silhouette of the lower half of the body. In the middle 17th century in Chosun, Confucianism settled down as fundamental idea of society, while whole country achieved considerable economic growth. As a result for upperclass women, female virtues was demanded more than any other period in Chosun. On the other hand, lower-class women including Kisaengs, had more freedom on their clothing behaviors. According to the literature on women's dress institutions and restrictions of the extravagance, the use of kinds of high-quality silk and false hair was criticized, compared to women's clothes in China. From this, one can see the luxury and affluence of women's clothes at that time, which also reflected in luxurious underclothes. Also, the movement of class, by economic development, led to changes in the costumes of middle-to-lower class women, relaxing restrictions on clothes. Underclothes included Bosomband(가슴띠; long sashes for bosom to wrap), Sokjucksam(속적삼), and Sokchogori(속저고리; Korean blouse, worn under the chogori) for upper garment, and Darisokkok(다리속곳; basic underwear like the panty), Soksokkot(속속곳; underwear paji to be wide of hem), Sokpaji(속바지;trouser front and back opening), Tansokkok(단속곳; large size underwear like Soksokkot), Noronpaji(너른바지; paji like the skirt or paji bulky than tansokkot,), Mujigi무지기; tiered skirt for underwear), and Daeshumchi'ma(대슘치마; Korean underskirt, shape hem as a pad into form) for lower clothes.

• 한국의류학회지
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• 제45권3호
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• pp.477-494
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• 2021

This study examined four subjects with close to average body-size values in four stages based on the average BMI value of middle-aged women aged 45 to 59 years. The first experimental pants was developed with two kinds of educational materials pants pattern. After using a clothing-suitability evaluation to identify problems, a pants pattern suitable for the body shape of middle-aged women was developed by modifying and supplementing the initial design. The fit assessment revealed that pattern A had a problem with wrinkles in the hip and thigh areas due to the long crotch length, and pattern B had a short bottom length, which caused the bottom to curl in toward the groin or for the bottom to stick at the hips. The second experimental pants was developed to address these issues and overall satisfaction with the dimensions was higher than for the first educational pattern. The proper front and rear length extensions satisfied movement functionality and appearance requirements, and increasing the gradient of the back centerline-rather than expanding the width of the back crotch-improved the functionality.

• 한국영어학회지:영어학
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• 제4권2호
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• pp.117-149
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• 2004

The paper is to argue against the asymmetric CP-V2 analysis of Old English, according to which finite verbs invariably undergo movement into a clause-final T within subordinate clauses and reach the functional head C within main clauses. The asymmetric CP-V2 analysis, first of all, faces difficulty in explaining a wide range of post-verbal elements within subordinate clauses. To resolve the problem, the analysis has to abandon the obligatoriness of V-to-T movement or introduce various types of extraposition whose status is dubious as a legitimate syntactic operation. Obligatory V-to-T movement in Old English lacks conceptual justification as well. Crosslinguistic evidence reveals that morphological richness in verbal inflection cannot entail overt verb movement. Moreover, the operation is always string-vacuous under the asymmetric CP- V2 analysis and has no effect at the interfaces, in violation of the principle of economy. The distribution of Old English finite verbs in main clauses also undermines the asymmetric CP-V2 analysis. Conceptually speaking, a proper syntactic trigger cannot be confirmed to motivate obligatory verb movement to C. The operation not only gets little support from nominative Case marking, the distribution of expletives, or complementizer agreement but also requires the unconvincing stipulation that expletives as well as sentence-initial subjects result from string-vacuous topicalization. Finally, textual evidence testifies that Old English sometimes permits non-V2 ordering patterns, many of which remain unexplained under the asymmetric CP-V2 analysis.

• 한국멀티미디어학회논문지
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• 제18권6호
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• pp.763-771
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• 2015

The kinetic typography animates the static text and it will enable the delivery the opinion and emotion, but we should use professional software or do complex coding precess to create a motion into an existing static text. In this paper, we propose the primitive motion API which is the way to configure the kinetic typography easily by adding a motion into the static text. In the pursuit of this purpose, we analyzed the movement of the text, defined the underlying levels of the movement and designed the primitive motion API to express the kinetic typography promptly. Furthermore, we verified the performance of the primitive motion API by testing the usability. Using the primitive motion API to implement the kinetic typography explicitly might substitute for tedious coding process and usage of the existing professional software so it makes anyone be able to apply the kinetic typography in a variety of applications.

• 한국의상디자인학회지
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• 제2권1호
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• pp.133-145
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• 2000

Costume in movies are used as an instrument to signify the personality image and status of characters, and even the main theme of movie itself. The purpose of this paper is to verify the feministic meaning of bloomer costume used in movie, 「OSCAR and LUCINDA」. The bloomer costume was anti-fashion in crinoline period, when women was normally not allowed to put on trousers. To achieve the purpose, I used content analysis to obtain meanings from existing literature and video tapes(including, slides and pictures). Bloomer costume, introduced by Mrs. Amelia Bloomer at 1850s, is an anti­fashion to express women's right to wear trousers that were exclusively used by men since the medieval age. In this sense, bloomer costume itself is a costume expressing values of women's emancipation movement. In 「OSCAR and LUCINDA」, heroine, Lucinda, with bloomer costume is described as a woman who has strong motivation toward work, who actively looks for a man she loves, and who has free­will to involve herself in what she wants, even gambling. This is not surprising in a sense that Lucinda's bloomer costumes itself signifies the meanings of feminism. I found that bloomer costume was well described in the movie from the historical point of view. But some details, including type of trousers, were expressed without strict historical evidence. Overall, it is certain that 「OSCAR and LUCINDA」, with a heroine wearing bloomer costume was a big step towards women's emancipation in movies.

• 한국전문물리치료학회지
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• 제16권1호
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• pp.70-78
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• 2009

This study was designed to examine a 3-week modified constraint-induced movement therapy (CIMT) to the less-affected arm of patients with Parkinson's disease (PD) would improve function of the more-affected arm in PD. The subjects were 6 institutional older adults with PD and clients of the social welfare facilities. The subjects (2 men, 4 women) ranged in age from 66 to 90 years (mean age 77.2 yrs). Three clinical tests were used to determine the improvement of functional activity between before and after modified CIMT. The tests included Unified Parkinson's Disease Rating Scale (UPDRS). Wolf Motor Function Test (WMFT), and Action Research Arm Test (ARAT). There were significantly differences after the modified CIMT for time performance in WMFT and pinch in ARAT (p<.05), No significant difference was noted after the modified CIMT for UPDRS and functional ability scale in WMFT. Therefore, the modified CIMT might improve time performance and is available to therapeutic program helping them improve functional ability for upper extremity in Parkinson's disease.

• 한국실내디자인학회논문집
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• 제23권6호
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• pp.105-114
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• 2014

This study is intended to identify various reasons on the 'body' of women described in the paintings by Le Corbusier. As a great artist in the field of modern architecture, various figures of 'body' of women he painted were not a mere physiological body of a woman but a meaningful figure combined with many different types of concept in the social and cultural context. In the field of art, body is recently seen as a 'tool for thinking' that studies dealing with it are being actively conducted. Seen in this context, it is feasible to read the situations and causes at that time through movement and changes in the figure of women's bodies described in his painting. Even if it was a speculative inference, this study aimed examining what reasons and perspective Le Corbusier had when painting women's bodies and what message he intended to convey. Reasons on the 'bodies' of women derived in this study serve as an essence of mentality in understanding the spatial design that was constructed around the time of period. Adopting a different view from many of previous studies in the aspect of skills and spaces, it was intended to study changes in the complex and integrated causes in both spatial design and painting and re-interpret an essence of mentality of the spatial design in the humanistic approach according to the notions in society and culture.

• 한국운동역학회지
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• 제20권3호
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• pp.293-301
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• 2010

The purpose of this study was to investigate the kinematic difference between skilled and less skilled group for the forward walk at dance sports rumba. Six female players(skilled group: 3, less skilled group: 3) were participated as the subjects. To obtain the three-dimensional location coordinates in the joints and segments, it shot with 100Hz/s using 8 video cameras. Step length, shoulder rotation angle, orientation angle and angular velocity of pelvis were analyzed for each trail. The skilled group showed a bigger movement than the less skilled group at the shoulder rotation angle and ROM. The skilled group showed a bigger movement than the less skilled group at the up/down obliquity and internal/external rotation movement for pelvis. And the skilled group showed a bigger movement than the less skilled group at Maximum angle (down obliquity) of P2 and Maximum angle (up obliquity) of P3 to pelvis ROM. The skilled group showed a faster angular velocity than the less skilled group at P2 (+ direction, posterior) of anterior & posterior tilt, P2 & P3 (- direction, up) of up & down obliquity, and P2 (+ direction, external) of internal & external rotation.

• 한국의상디자인학회지
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• 제4권3호
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• pp.75-87
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• 2002

The nineteenth century was a watershed - the extreme point of difference in the style of fashion dress and in the roles men and women played in society. This conviction has its roots in the socioeconomic changes of the 19th century and the industrial revolution, and the new working bourgeoisie' value, fashion and taste were on the rise. The bourgeois, who was not considered as having infallible taste, was looking for its own style, while on the other hand it was competing with the nobility. Therefore bourgeois' own etiquette and taste were appeared. There was ideals which the middle classes were hungry for, and it became the basis of judging an individual. The bourgeois tried to get social approval and used fashion was the mean of it. Bourgeois women fashion has a funtion as a complete symbol of the status, wealth and leisure in a patriachal society. Not only the Bourgeois tried to control themselves and to achieve the virtue of moderation, chastity and obedience by the restrictive costume, but also extravagant and cumbersome dresses has a kind of compensative funtion against a sober and simple men's dress. There was a reformative movement to break out of the legal, economic and social restrictions within the confines of respectable Victorian Society. The process of reform was long and slow for not only did laws be changed but the barriers of prejudice in a society convinced of man s mental and physical superiority had to be overcome. But even though there were many difficulties, a small number of progressive women challenged the social recognition and role of women and decisively refused the restrictive and ostentative fashion. Victorian costume was also criticized in the medical and aesthetic aspect for their impracticality. As a result, more funtional and practical women's clothes has appeared, but it have resulted in a peculiar hybrid of traditional female attire in combination with the more uncomfortable aspects of men's clothes. However it was becoming an essential look for new women who were the equals of men and wanted to be treated as such.