• 한국운동역학회지
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• 제13권2호
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• pp.89-100
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• 2003

In this research was to analyze 3-D kinematics variables for handspring of basic motion in the heavy gymnastics in order to investigate kinematical difference between expert and novice. Therefore, the purpose of this research was provide quantitative information, systematic provision, rules, establishment of basic skill for improving skill and teaching athletes. And in the research, results were as followings. 1. In the time variables, total time was that expert took 0.745sec and novice took 0.829sec, and as duration time of each event, expert was faster than novice in the all motion event except till second event of the preparation motion. 2. In the center of body variables, vertical direction variables, the displacement of body center hight was that expert showed 61.26% and novice showed 54.48% in the third event of all motion, also all event were showed expert was higher displacement than novice except first of event in preparatory stage. 3. In the angle displacement of main joint, the right direction was that expert showed 154.12degree and novice showed 174.85degree and the left direction was that expert showed 159.29degree and novice showed 171.46degree In the second event of main joint curved point at the same time hand was reached floor. In the angle displacement of knee joint in the third event of all motion, expert showed 155.25degree and novice showed 154.00degree In right, and expert showed 155.24degree and novice showed 154.55degree in left. In this result, both were same motion type. In the angle displacement of hip joint in the third event of the all motion, expert showed 142.80degree and novice showed 134.17degree in right, and expert showed 140.28degree and novice showed 144.94degree in left. In this result, motion pattern of expert was same both sides, but novice was different. According to the results, to increase efficiency of motion and aesthetic effect in the all motion, it should stretch displacement and height of body center and make similarly angle of right and left joint.

• 한국의상디자인학회지
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• 제14권3호
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• pp.205-216
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• 2012

Korean traditional wedding ceremony was conducted with some regular procedure and there were used special Gyubang crafts for wedding ceremony. Nowadays there is common the western style wedding ceremony and then the use of wedding Gyubang crafts have being decreased. Purposes of this study are to investigate characteristics of and to propose some idea of preservation and application them in the life of today. The results are as follows; Wedding Gyubang crafts can be classified Bojagj(wrapping clothes), Jumeony(cloth bags), ornaments, items related to sewing and others. They were apt to be traditionality, symbolism and shamanism, and were superior in aesthetic sense, the effect of decoration and technical skill. So there was needed preservation them. Some way of preservation and applications them were suggested ; alternation in keeping with modern needs, use of ornament, alteration in present-day life, application their image to Korean cultural products, textile design and so on. Several works were developed by ways suggested and exhibited in order to arouse new understanding Wedding Gyubang Crafts to public.

• 한국가구학회지
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• 제26권3호
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• pp.267-273
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• 2015

This study is a review on the relationship between furniture purchasers and producers in the Joseon period. Understanding the relationships in our traditional spirit and the Joseon furniture that reflects a aesthetic sense is a meaningful work. Joseon was to build an ideal country which put emphasis on the order and harmony through Theory of 'Yeak' as the confucianism nation. Human aesthetics, which emphasis on the spiritual value by confirmity to nature and forcus on the relaxed, deficient personality rather than completeness was established as the central formative consciousness of the Joseon Dynasty. The nature of things in the confucian scholar prior to the representations of things is expressed in the form of master craftsman's skill and soul. Formative consciousness of the confucian scholar is to realize ideals by communciation and interchange with master craftsman's soul in the form of the Joseon furniture. The beauty of restraint and brevity in the Joseon Dynasty furniture includes meanings and procedures of art work. It implies an orderer's purpose of production and a producer's products. Understanding the spirit of times in the production becomes the cornerstone capable of getting closer to the furniture ultimate proper function. These problems have a very close relationship with the problems of modern people's commnuication. We expect an even higher growth of the furniture by achieving more improved communication based on the consumer's great insight and the producer's passion.

• 한국가구학회지
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• 제27권4호
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• pp.280-290
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• 2016

In design education enhancement of design methodology and creativity can be stimulated through taking on several creative roles within an interactive and enjoyable studio course. To overcome blocks to creativity I developed a intermediate course, 'Furniture Design Studio I' at the sophomore advanced level course. Inventive thinking and a sense of aesthetic are the essential element for all studnets to grow as a professional designer. And to develop their creative thinking skill I introduced a system that utilizes each element into a role-playing type of projects. Students will be able to demonstrate their underlying creativity in a more open environment. Instead of stressing to solve a lot of complicate issues, the main focus is to allow freedom of expression and creativity. Role-playing are executed in a design studio environment rather than in a psychodrama situation. There are two different type of role-playing : Inventor and Designist (Designer + Artist). Students will be able to work in groups, incorporate problem solving into their projects and concentrate on more personal creative form developments. Through this process, students will enhance their problem solving abilities and broaden their scope for innovation. Thus increases the student's participation and creativity. Investigating the problems of domestic design education through these sort of special programs and developing systems that enhance creativity based on the results and the process methods.

• 한국의류산업학회지
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• 제15권2호
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• pp.182-191
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• 2013

This study compares the trend analysis for characteristics of design from 2007 to 2011. According to analyzed results for each year's jean fashion, the 2007's aesthetic feature was a unified and simple design. From 2008 to 2010, the design features were various and rich, and features of 2011 were defined by simplicity with diversity. S/S season's feature were more diverse and balanced than the F/W season. Particularly, washing techniques represent a distinct skill, regardless of season. An analysis of each collection showed that the Paris collection had different and diverse forms; however, it was gorgeous to enjoy the design of a young sense in Milano. London's jean fashion was pale, light, and a dull tone. New York's jean fashion presented a young and practical value to catch other's eyes. There is a need to increase and increase the expectations of customer desire and the high value-added jean fashion industry. New ideas need to be developed for varieties of design and expression of techniques.

• 대한가정학회지
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• 제50권5호
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• pp.39-49
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• 2012

This study looked into the trend of expression of animal motifs that appears in modern fashion, and the values embedded in them. As to the research method, empirical analysis was performed on the works presented at the four global collections of Paris, Milan, New York and London from 2001S/S to 2010F/W, as well as a literature review. As a result, animal motifs applied in modern fashion appeared in material groups, such as leather or feather. The first group shows a realistic material feel, with artificial leather or fur, expressed in a transformed complex animal motif, with process skill or various methods of expression. The second group is the case of a single motif or reality, mode, and ion pattern. Printing is a generic expression, but patchwork, collage or bead ornament are also used, and expressed in the various forms of pattern: pattern in a single animal, pattern in different animals, and pattern combining both animal and other shape. The third group is a small decorative ornament, including headset or accessory and makeup, which is transformed in an animal-characterized motif into part of clothing components for expression, or to set the real animal to the stage for a performance. The embedded values were also categorized as natural beauty, sensual female beauty, pleasure, and ornamentation, which could be an endless spiritual source, and a breakthrough that enables us to show a creative and new aesthetic for the modern fashion field.

• 복식
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• 제63권4호
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• pp.56-69
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• 2013

This study studies the fabrics from excavated 17th century tombs of Mrs. Min from Yeoheung family(1586~1656), Yeo-on Kim(1596~1665) and Won-rip Choi(1618~1690) and attempts to clarify the relationship between the fashion trend in fabrics of those times and the background behind it by viewing and examining the proportion of twill fabrics to the total silk fabrics and the characteristics of its weave and patterns. Looking into fabrics from the above tombs, twill fabrics accounted for 10.4%(13 pieces) 19.3%(16 pieces) and 9.2%(9 pieces) of total silk fabrics in each of the respective tombs. This forms a remarkable contrast with the fact that there was only one piece of twill silk fabrics(0.5%) and not any from the 16th century tombs of Mrs. Yoon from Papyeong family (0.5%) and Soo-ryoon Sim(0%). In particular, the percentage of hwamun-neung(patterned twill fabrics) in each of the tombs is 8.0%(10 pieces), 13.3%(11 pieces), 9.2%(9 pieces), which is much higher than that of non-patterned one. This is common to the twill fabrics from above three 17th century tombs. Patterns of hwamun-neung(patterned twill), simplified small flower patterns or geometrical figures, from the three excavated tombs are mostly arranged sporadically with blank space. It is supposed that these figurative characteristics reflected the aesthetic sense of the gentry at that time which valued simplicity and moderation for their Confucian standard. This phenomenon of increased use and production of twill fabrics in the 17th century resulted from different factors such as wars like Japanese Invasion of Korea(1592~1598), economic difficulty, government regulations against the production of high-class fabrics, development of weaving skill and its fixation, changes of fabric production environments, and changes of aesthetic sense preferring naive and moderate things to showy ones. As for the weaving characteristics of twill fabrics from the three 17th century tombs 3 leaf warp-faced twill was often used for the ground texture and 4 leaf warp-faced one was occasionally used. For pattern texture 6 leaf weft-faced twill was frequently used, 4 leaf weft-faced twill and 3 leaf weft-faced twill were used at times, and floating one was occasionally used as well.

• 한국융합학회논문지
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• 제11권3호
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• pp.321-331
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• 2020

본 연구의 목적은 권역 외상 중환자실 간호사의 교육 현황, 교육 요구 및 간호사 역량을 파악 하는데 있다. 자료 수집은 5개 권역 외상 중환자 치료센터에 근무하는 123명 간호사로부터 설문지를 수집하였다. 조사 설문지는 외상 중환자실 간호사의 교육 현황, 교육 요구 및 간호사의 역량으로 구성되었다. 연구 분석은 SPSS 21.0 프로그램을 이용하여 서술통계, t-test, One-way ANOVA, Pearson Correlation으로 분석하였다. 연구결과 국내 외상 중환자 간호 교육 참여는 78.9%이었다. 외상 중환자 간호 교육 중요도 결과 '태도'는 3.64, '지식'은 3.52, '기술'은 3.47로 나타났다. 교육 요구도 결과 '지식'은 3.18, '태도'는 3.05, '기술'은 2.97로 나타났다. 간호사의 역량 조사 결과 '윤리적 역량'은 3.62, '심미적 역량'은 3.53, '인격적 역량'은 3.39, '과학적 역량'은 3.37로 나타났다. 결론적으로 현시점에 맞고 적용 가능한 외상 간호교육의 표준화된 교육과정 및 실습위주의 교육개발에 초점을 두는 것이 필요하다. 또한 외상 중환자실 간호사의 전문성과 간호역량증진을 위한 전략모색이 필요하다.

• 기본간호학회지
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• 제6권2호
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• pp.320-330
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• 1999

Nursing, a behavior of caring, means a connection of patients and clients has done through the caring of clients. Nurses are always with patients. In fact, caring is very important and the core of nursing, the true meaning of caring was embedded in our custom and consciousness before the approach of academic research. As a result, the existence of caring has not seen and revealed. Therefore, there is a need to study and confirm that caring has been placed in nursing and, nurses are doing caring in practice. The purpose of this study is to present the basis of nursing theory and practice through careful analysis of presence being, an aspect of caring. The presence of nurse shows a personal and healing relationship between nurses and patients on the basis of the respect for the humanity, Also, the role of nurses is to help a patient to integrate one's physical, mental and spritual aspects. Thanks to role of nurse, the pratical nursing has the characteristic of art and becomes more aesthetic and artistic. As we have seen above, we define 'presence' as 'being there' and 'being with' a patient for the purpose of meeting the health care needs. The attributes for which presence would be most appropriate would include the following : (1) being with and being together (2) take attention (3) mutual openness (4) experience an empathy (5) have an intention (6) therapeutic interaction process A caring situation as a necessary condition must be presupposed and the factors in that situation are the nurse's intense attention to the patient and a humanistic philosophy of the institutions of the patient. In any nursing intervention skill, there is listening, touching, giving hope, reassurancing, comforting and so on ; as a result, some positive effects can be expected between nurse and patient.

• 조형예술학연구
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• 제6권
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• pp.5-32
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• 2004

Kim Hwan-ki's New York Period works consistently present, as the central signifier, a curvilinear paradigm which has been derived from his creative consciousness. The purpose of this study is to bring to light what exists behind curvilinear paradigms; a fusion of history and society with the artist's individual consciousness as a fused aspect of history and society. To make this aspect suitably understood, this study focuses on curvilinear signifier which are analyzed and considered objectively. The results of which are as follows: It is a representative example of transforming a curved line which is the modern quotation of traditional Korean art, most directly works done in porcelain. He takes the aesthetic consciousness of Korean art as the power of his works and takes aim at the collective consciousness of all races. Looking through the background of his times, his artistic subject was to find the ethic characteristics of our excellent tradition and highlight them in his art. To him, art is not about making the most of a skill but instead about allowing one's inner spirit sing it's own song. This thought is conveyed in curvilinear signifier of his works. Therefore this study has asserted that Kim Hwan-ki's curvilinear signifier in his New York Period works has strong ties to the cultural vein of Korean history and society at it's base as well as simply in his individual level. This assertion is not to set form in a superior position as a Formalist but to show form as having the will to deal with the significance of an artist's mode by interpreting the experience of the interpreter.