• Journal of the Korean Society of Costume
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• v.44
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• pp.5-17
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• 1999

This paper studies women's clothing and textiles recorded in the『the Odes』, and refers research materials on the old commentaries about the『the Odes』and the various kinds of records and remains. The results regarding women's clothing in『the Odes』are follow: 1. Ti-i, Chin-i are the women's ceremonial dresses. Ti-i is a kind of the court dress and the shape is a long dress embroidered with pheasant. Chan-i belongs to the lower grade compared with the six ritual dresses worn by the queen and is made of Hu that is a kind of the white soft-wrinkled fabrics. 2. A women's I-Shang is composed of a blouse and a skirt. It is the classic style before the Sh n-I appears in China. Also we find that they use the standard colours for a blouse and the intermediate colours for a skirt in Chou period. 3. Chiung-I, Chiung-Shang and Hsieh-Pen are a kind of the robe put over the former garment made of Chin not to display to elegance. 4. Fu, Ch n-Fa, Pei and T'i are a kind of women's wig. Ti and the six-Chia are women's hair ornaments. Ch'i-Chin and Ju-L are a kind of the working women's turbun. 5. The women's belt ornaments are classified into the practical things and the decorational things like those for men. The results regarding fabrics in the『the Odes』are as follow: 1. The silk fabrics; There are Chin, Hu, Chou, Tz , Su, Hsiu. 2. The woolen fabrics; There is Ho. 3. The linen fabrics; There are the hemp and the ramie in the remains of Chou period. Also there are Ch'ih and Hsi categorized in Ko fabrics.

• Fashion & Textile Research Journal
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• v.13 no.6
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• pp.838-847
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• 2011

The object of this study is as follows. First, according to the silhouette of clothes, I will search the relationship with the embroidery design. Second, I will investigate the relation of coloration about the clothes color and embroidery color. Third, I will search the relation with the image in clothes and embroidery design characteristic. The data acquisition is selected to the total 447 pictures of embroidery clothing design from the www.style.com, www.samsungdesign.net which are the related information site. The data are limited from S/S season in 2004 till F/W season in 2008 in the Paris, Milano, and New York collection. The analytical method was made through the analyze method and statistical method. First, on the relation with the clothes silhouette and embroidery design, if the satin stitch technique is utilized as the X-shaped or A-line silhouette in the one-piece and dress, the image which is elegant and feminine can be expressed. if the satin stitch technique is utilized as the H-line silhouette in jacket and court, the mannish image can be expressed. Second, the embroidery color showed up as the contrast combination of the monotone when the clothes color was the monochrome. And the embroidery color showed up as the tone in which is bright and sober when clothes color had 2 or 3 or 4. So, if the embroidery color is utilized as the similar color scheme, it will be effective. Third, if the embroidery technique of the one-piece and dress is utilized as the the satin stitch technique and the bloom and leaf motive being stylized pattern is used in the all-over and border pattern, It will be effective to express the romantic/feminine, ethnic/folklore, active, and classic image.

• Journal of the Korean Society of Laryngology, Phoniatrics and Logopedics
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• v.2 no.1
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• pp.15-19
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• 1986

Our report refers to occidental vocal techniques from Greece until today. It is remarkable that even with poor anatomy knowledge, there were advices on styles given from very early periods, for both church and secular singing. During the 18th century, the names of "vox pectoris", "vox guturris" and "vox capitis" appear, nominations that somehow remain nowadays with great confusion about source of sound production and results of resonance. Vocal occidental styles developed different kinds of requirements from the singers, that had to adapt their vocal Possibilities to them. The same happened with "pop" song. Nowadays, all kinds of singers must have a conscious knowledge of its voice management to prevent vocal disturbances. We consider that the technique is the same, even when the singer has to sing Wagner, Debussy, Sconberg, Piazzola or Gershwin. The big changes occured at resonance levels, and because these different use of the vocal resonators the effects are quite different. In summary, the big differences on classical the effects are quite different. In summary, the big differences on classical and pop song are done on the different use of the resonators and its effects on the vocal tract. "Pop" singers, men and women, should be taught to use both registers, "modal" and "falsetto" to be able to reach the complete range of their songs without any harm to their larynxes. In our opinion, a good singing technique means that it could be adapted to every stylistic need. The same technique is adapted to the popular singer as well. The main difference lays on the use of resonators, pretty strong in the classic singer, weaken in the popular singer, on the volume and on the total extension of the voice. Breathing control, effortless emission and the use of "passage" at the right point should be taught to all singers, regardless of their style. (omitted)

• Journal of Fashion Business
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• v.24 no.2
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• pp.1-16
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• 2020

Hijab as a symbol of women's oppression due to the opening and reform of Islamic State group, is becoming more diverse as younger generation begins to dress more freely than ever before, spreading the perception that it is a fashion item. In response, this research conducted a theoretical review about the history of hijab, various forms of hijab, and characteristics of hijab using relevant literature, media reports, and fashion media articles. As an empirical study, image-oriented photo data shared by Tehran Street Fashion from 2015 to November 2019 were analyzed separately by fashion majors into color, pattern, and hijab-making forms. According to the analysis, six different fashion images were categorized as romantic feminine, modern chic, natural elegant, classic formal, sporty casual and gorgeous ethnic. For Muslim women in the past, hijab was worn as a repressive and closed sense by the religious system. However, in modern times, it is a way to express one's style and ideas as a fashion item. It is also and a means to express one's thoughts and beliefs. Through aesthetic consideration of Hijab as a fashion item, it was found that it was a medium for freedom of expression and a medium for beauty and individuality.

• Journal of the Korean Society of Clothing and Textiles
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• v.14 no.2
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• pp.129-136
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• 1990

The purpose of the study was to develope brand positioning map for ladies' ready-to-wear, to find out evaluative criteria in perception and preference to brands, and to persent the relationship between consumer's characteristics and brand preference. Subjects were selected for the housewives of middle and high socioeconomic classes living in Seoul area. A questionnaire including items of life style, self image, similarity between brands, preference degree to brands, and demographic variables was developed for the empirical study. The questionnaire was administrated to 137 housewives during fall in 1989. Data were analyzed by cluster analysis and multidimensional scaling method. The study had two research problems. The first research problem was to construct a brand perceptual map for ladies' ready-to-wear brands, selected for the study The perceptual map was constructed on the basis of brand similarity scores by multidimensional scaling method. As a result, brands were grouped into 4 clusters, and evaluative criteria for perceptual map were found to be fashionability (classic- fashionable) and familiarity (familiar-unfamiliar). The second problem was to construct a brand preference map for ladies' ready-to-wear brands, selected for the study. The preference map was constructed on the basis of brand preference scores by multidimensional scaling method. As a result, the brands were grouped into 4 clusters and evaluative critiera for preference map were found to be fashionability (unfashionable-fashionable) and image to age (mature-young directed). Also was shown the relationship among self image, age, socioeconomic class, and brand preference. The multidimensional scaling method was found to be useful as well as valid instrument for brand positioning research and the result can be utilized for establishing strategies for ladies' ready-to-wear brands.

• (The)Study of the Eastern Classic
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• no.66
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• pp.75-101
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• 2017

Cifu(辭賦) is a style that has been pointed out to many people because of Shin Heum Family's literary skills. I focused on this point and outlined Shin Heum Family's Cifu, and searched the literary through the works in which Guiqulai(歸去來) consciousness appeared. Shin Heum and his family members wrote many Cifu works, which were mainly in the form of Gufu(古賦). And many of them revealed personal emotions, such as melancholy. Especially they formed Guiqulai consciousness by taking personal suffering as their nourishments, and it was expressed in Cifu. The feature of Shin Heum Family's Cifu works is that the shape of Guiqulai consciousness is remarkable. There was a political ordeals on the base of such a consciousness. It was literally shaped through various methods.

• Fashion & Textile Research Journal
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• v.22 no.6
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• pp.739-751
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• 2020

This study compares and analyzes bridal wedding styles in Korean and Chinese SNS. For this, 715 photos (362 in Korea and 353 in China) collected on social media (Instagram and Xiaohongshu) were used for analysis. The bridal wedding style was divided by item into wedding dress, makeup, and hairstyle, and detailed characteristics of images and designs were examined through content analysis and statistical analysis. First, in the case of Korea, many wedding dresses showed ball gowns and mermaid silhouettes, white colors, and no details and trimmings. As for the makeup, transparent and natural skin expression, straight eyebrows, and pink and peach lip colors were highlighted; and as for hairstyles, many long hair with half-covered ears appeared. Second, in China, a ball gown, mermaid silhouette, and white color are often seen in wedding dresses, and point colors and use of various details and trimmings are noted. The makeup showed a lot of bright skin expression, brown and black eyebrows, and red and brown lip colors. As for hairstyle, a lot of long hair with completely exposed ears appeared. Third, the comparison of bridal wedding styles between Korea and China indicated that China used relatively more details and trimmings in wedding dresses. As for makeup, Korea has a natural image, and China has a classic image. As for the hairstyle, there were many styles in which Koreans had half the ears covered, and Chinese had no bangs and completely exposed ears.

• Journal of the Korea Computer Graphics Society
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• v.28 no.3
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• pp.113-123
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• 2022

Ray tracing-based rendering creates by far more realistic images than the traditional rasterization-based rendering. However, it is still burdensome when implemented for a Head-Mounted Display (HMD) system that demands a wide field of view and a high display refresh rate. Furthermore, for presenting high-quality images on the HMD screen, a sufficient number of ray sampling should be carried out per pixel to alleviate visually annoying spatial and temporal aliases. In this paper, we extend the recent selective foveated ray tracing technique by Kim et al. [1], and propose an improved real-time rendering technique that realizes the rendering effect of the classic Whitted-style ray tracing on the HMD system. In particular, by combining the ray tracing hardware-based acceleration technique and time-constrained rendering scheme, we show that fast HMD ray tracing is possible that is well suited to human visual systems.

• (The)Study of the Eastern Classic
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• no.70
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• pp.91-117
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• 2018

This paper examines the persuasive style(論說類) proses of Myeonggog(明谷) Choi, seokjeong(崔錫鼎, 1646~1715). He is a disciple of Namguman(南九萬) and Parksechae(朴世采), and is a man who played an active part by political soron(少論) leader in the middle of the Joseon Dynasty. It is also a central figure that links the genealogy of the late Joseon Dynasty, which leads to Namguman(南九萬)-Choiseokjeong(崔錫鼎)-Chotaeeok(趙泰億). He wrote total 14 persuasive style prose. The time of creation is from around 1671 until the end of life. In this paper, the preoses to be analyzed are Sunukron(荀彧論), Bujadaegaron(夫子待賈論) and Muneongyebyeon(文言系辭辨). The reverse idea that reverses the existing discussion is outstanding, and the work which is unique in composition is Sunukron(荀彧論). Bujadaegaron(夫子待賈論) is a work that uses the ryubi(類比) to increase persuasiveness and converts the existing perspective. Muneongyebyeon(文言系辭辨) is a work that attempted to harmonize in the formality of vocabulary, sentence and composition while showing the logical perfection to dismiss the counter-argument's prerequisite. For example, Muneongyebyeon(文言系辭辨) consists of a total of five paragraphs in aspect of composition, each paragraph arranged in good order. In addition, this work presented sequential arguments, used the incremental method which emphasizes the importance of arguments as it moves backward.

• (The)Study of the Eastern Classic
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• no.34
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• pp.225-255
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• 2009

Few data on the epigraph from the Bal-Hae Dynasty have been reported so far. The present paper, based on an examination of the style of the epitaphic tombstones of Princess Jeong-Hye and Princess Jeong-Hyo, investigates the historical formation and characteristics of Balhae's epitaphic style and its influences on the posterior periods. The epitaphs from the Bal-Hae Dynasty have the following epigraphic characteristics and historical significances. First, Bal-Hae's epitaphs are similar to those from the Goguryeo Dynasty in the sense that they are angular in their form. Tombstones with angular head first appeared during the East Han period. During the Wi-Jin period, however, as tombstones were not allowed to be erected in front of the tomb, small-sized epitaphic tombstones were set up inside tombs. Typical tombstones from the Dang Dynasty had stone pole and square cover. Unlike those from the Dang and the Tong-Il Silla Dynasties, however, the epitaphs from Bal-Hae had angular head in their tombstone body. The Bal-Hae's angular headed tombstones are very likely to testify that Goguryeo's epitaphs, which features an influence from the Wi-Jin Nambuk-Jo period, in turn exerted an effect on those from the Bal-Hae Dynasty. Second, Bal-Hae's epitaphic tombstones are characterized by their hexagonal head,which were modified from the then typical pentagonal head by cutting out the sharp point. The hexagonal head, which has not been found in its neighboring countries during the same historical period, is peculiar to the epitaphic tombstones from the Bal-Hae Dynasty. Third, the edge lines and ornamental figures first appeared in Bal-Hae's epitaphic tombstones, as seen in those of Princess Jeong-Hye. In the fa?ade of the epitaphic tombstone, a carved line demarcates its rectangular body and trapezoidal head. Four faces of the body stonehave two parallel lines in their edges within which vignette was inscribed, and the trapezoidal head part was ornamented with flower figures. Fourth, Bal-Hae's epitaphic tombstone had an extensive influence on the posterior countries in its neighborhood. The epitaphic tombstones in the Bal-Hae style are very often found in those of the Goryeo Dynasty and the Yo Dynasty which were greatly influenced from Bal-Hae. The vestiges of Bal-Hae's epitaphic style are also found in those from the Song, the Geum, and the Won Dynasties.