• The Korean Nurse
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• v.37 no.2
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• pp.44-52
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• 1998

The purpose of this study is to inquire the people's views on nursing for nurses, correct the image of nurse and take it as basis to be applied on nursing education examining the image of nursing on Television drama playing important role of mass media. 22 nurses of the characters in drama is applied to the analysis object of this study by selecting 6 dramas of Television ones the nurse play on the prime time from June 1 to August 31 in 1997. Contents analysis method was used in Data Analysis, 4 items was used after Coders previously modify and compensate it based on research documents of 1m Milim(1996) 2 Coders made the Coding the article on each person by them seeing the recorded film making the Coding Paper each items is written by the character. The average of reliability degree was 90% which measured the reliability degree by the mathod of Holsti. The statisic method of frequency, percentage was used SPSS Program in data processing The results were as follows. 1. Relative importance of 86.2% nurses in drama was depicted as extra characters 2. The affair attitude of nurses shown on drama was revealed as mechanical(84.7%), passive(45.5%), dependent(54.4%) unkind(68.2%). 3. The activity of nurses was classified with professional! simple affair. The professional affairs such as I.V., Blood Pressure Check, Rounding, Nursing Recording, Patient Education, Assist of Operation, Assistant meal of Patient, etc is mainly depicted and the screen of simple affair such as Receiving telephone, Carrying Tray or Dragging, Stretcher Car, Dressing Car and or Wheel Chair than professional affair. 4. The appearance feature of nurses was shown on thin physique(68.2%), common stature(68.2), dirty costume(45.4%), common appearance(81.9%), unnoble action(63.6%). The image of nurses is illuminated as the exterial scene of technical affair such as assisting the doctors and affair focused on accident and educational activity of nureses or extended role is nor depicted on Television drama. Therefore, the people regard the nurse as sexual object with good appearance than professional worker working professional nursing We want the following, epigraph based on above conclusion. 1. The continuous research is required on the image of nurse shown on various mass media. 2. The later research is required on appliction strategy of mass media for advancing the image of nurse. 3. The research to strengthen the objectivity by comparing analyzed data on drama & analyzing it is required 4. Through the deep study, the standard to show a concrete and professional work of nurses to scenario writers of TV drama is suggested by the association. 5. The monitoring about the mass media must be activated, not by some nurses, on a national scale and much study on the basis of this is needed.

• Journal of the Korean Society of Radiology
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• v.15 no.3
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• pp.329-336
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• 2021

The Study studied the Inspection Method of Images to obtain a sharp image of the Costume among the bones Composed of Thoracic Using the Thoracic Cage Rando Phantom. At 80 cm of the phantom Distance at the X-ray tube focus, the position of the Phantom was Examined by Changing the Rt and Lt Posterior Oblique(LAO) and Rt and Lt Posterior Postero Oblique positions by 20°, 25° and 30°. The acquired images were Subjectively Evaluated by the Radiographer, and the Evaluation data were analyzed as SPSS ver. 3.0. The signal-to-noise ratio (SNR) was Calculated using the ImageJ Program. As a result, the Cronbach Alpha value was Significantly higher at 0.789. The results of the Signal-to-Noise Ratio (SNR) were high at 20° to 6.038 in the right posterior Transcription Direction at the time of Examination and 7.860, in the Supine Position, for images of Sternum bones. In conclusion, it is Believed that the patient position can be obtained from the Right Anterior Oblique(RAO) Position 20° if the X-ray technique is used to obtain the Sternum's advanced image, and the Left Anterior Oblique(LAO) Position 25° when filming in the Rght lying position.

• Journal of the Korean Society of Costume
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• v.58 no.3
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• pp.63-78
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• 2008

Since 1960, minimalism has been one of the fashion phenomenon and turned out in many different ways. After postmodernism which contains negotiation and pluralism, appeared in 1980, there was a new wave of post minimalism that inherited 1960's minimalism. Minimal style which come out of 60's fashion, is marked by simplicity, minimal expression, and monochrome color, and it shows up simple style with no decoration. It opened up a young fashion period, and we saw minimal style in sports wear which utilized simplicity and function with spread of sports in the 70's. And also since 1980, Post-Modern widely influenced the idea about modern culture as well as complicated clothes getting rid of fixed concept, seeking to break the boundary between culture and life which were seek in fashion and personality as well as various characteristic, Accordingly in different ages, The style and image were borrowed from different culture and natural environment mixing the image, cultural phenomena like these appearing in complexity and expression, variety and possibility of new vision was expanded. Since 1980, Fashion has become more gradually diversity, high classed, required of each individuality. The phenomenon of fashion reappearance which was influenced by minimalism is continued to 2000. The Oriental style fashion is still attracted, so The new term "Ethic Minimalism" has appeared along with the trends which is put together. Therefore the purpose of this study is to search the concept and the characteristics of ethnic minimalism, to consider the relationship between minimalism and ethnic minimalism, and reveal the characteristic of ethnic minimalism happened to modern fashion. The study method went through literature research and practice research. The range of this study is oriental fashion spanning of from 1960 to current day. Photo records from this period show well the spirit of the oriental and the personality of minimalism. The oriental representative designer and western representative designer are centered Consequently, The formative characteristics of ethnic minimalism are simple, pure, unbalanced free style and representing the phenomena of compromise, blending oriental and western fashion. Structually, Elements of space and plane are emphasized, colors are restricted, and materials are composed mainly of natural fiber. So, minimalism based on simplicity combined with a structure of oriental spiritual depth and space, It could be called ethnic minimalism as a rational fashion.

• Journal of the Korea Fashion and Costume Design Association
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• v.4 no.1
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• pp.35-59
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• 2002

The purpose of the study is to clarify the relationship between hair style and personal character. This is elucidated by using the standard model of their preferred hair style to their individual to their personality. The study is primarily centered around college woman, who reside in Young dong area. The research suggested that In the age group 19-25 subjects preferred their hair to be shoulder length or longer. This is in contrast to the older age group preferring a shorter hair style. Certainly most subjects under the age of 25 preferred their natural hair texture as opposed to permed hair fashioned by older subject. Difference is personality traits was not a factor here. There is a relationship between personality traits, personal background and whether or not subjects dyed or decolored their hair. Subjects responded "yes" which means that they are easily affected by the two factors. The response to the other question of which color they chose, if they dyed and decolored, was that the most of the cases preferred brown color because brown is a natural looking hair color. Their responses from the question "what kind of style they want, if they can change their style differently", they preferred a fashionable hair style. In most cases, individual responded that they change their hair style once in every two or three months. Of all the personality traits, 48.1% were adventurous, changingtheir hair style more than once in every 6 months. The main reason they change their hair style is that they are bored with their old style. In the under 25 age group, the cost of changing their hair style is usually paid for by the subjects parents, however a few responded that they paid for themselves. Over the age of 25 years 80% usually paid for themselves. Additionally students who supported themselves financially paid for hair restyling themselves. When changing a hair style most subjects consider that new hair style should go with their existing image. "What kind of image they want to show others？" almost all of them responded that they want to look sophisticated and fashionable, In the age group 25 and over who belong to the upper class want their hair to look healthy and a full of body. They also responded about their changing their hair style to show a different appearance positively,fferent appearance positively.

• International Journal of Costume and Fashion
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• v.13 no.1
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• pp.23-34
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• 2013

The purpose of this study is to better understand the development and characteristics of knitwear fashion design by examining the transformation process of the modern knits. The subjects of the study are Missoni, Sonia Rykiel, and Azzedine Alaia, designers who are world-renowned knit designers, and the expressive techniques in their designs will be evaluated. The study also intends to analyze the aesthetic value of each designer's style through their product's silhouette, colors, and knitting techniques. On the basis of the analysis, we hope to research the factors in the designing process that will allow knits, which were made for practical purposes, to be valued as a luxury fashion item, and with the results, show the potential for knits in expanding its domain in fashion to become a more luxurious, creative fashion item. The characteristic comparison of the designers is as follows: First, in the case of colors, Missoni shows its distinct identity through a balance of splashy colors as well as nature-inspired color composition and balance. And, only with color use, is also able to express perspective, form composition, and rhythm. Sonia Rykiel designs are composed of black backgrounds with strong primary colors that are contrasted with one-point or stripes to express a light, urban image. Alaia emphasizes femininity by the use of black and white colors, which show modernity, in combination with neutral skin-toned colors, such as beige and gray. So, in other words, Missoni and Sonia Rykiel mixed colors for visual interconnectivity, while Alaia expressed femininity through the use of an achromatic color. Second, in the case of knitting techniques, Missoni uses the jacquard technique to make complex patterns that show balance of colors and patterns such as zigzag, stripe, geometries, and titan check, which are geometric, abstract, and symmetric. Sonia Rykiel who uses stripes as her trademark, most often utilizes the intarsia technique, which is expressed through one-point. Alaia combines diverse techniques, such as the Skashi weaving, by using computerized knitting. Third, as for silhouettes, Missoni eliminated exaggerated details in order to emphasize the flashy colors and delicate patterns and weavings of its designs, and this resulted in simplistic and relaxed silhouettes. Sonia Rykiel took advantage of the elasticity that the knit offers to get a tight silhouette, and in turn, emphasized the female sensuality. Alaia used curvilinear cuts that emphasized the womanly curves and gained an image considered soft and feminine.

• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.3
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• pp.1-13
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• 2008

The purpose of this research is to study the cause of obstruction in various knit pattern structures by understanding the needs of the customers, and to develop knitted fabric goods that satisfy the individual taste of consumers and that reflecting the latest fashions. Actual conditions of the manufacturer's designing processes must be examined. In addition, a comparison analysis of fashion sensibilities and preferences between producers and consumers had been made in order to study developing knit pattern structures. Questionnaires and interviews had been used as research methods. The research involved two groups: one group consisted of 57 producers, which included designers, programmers, and merchandisers working for a knit manufacturer in Seoul, while the other group consisted of 74 consumers, which included students with knitted fabric design as their major and those who have working knowledge of knitted fabrics. For a more accurate evaluation, 28 out of 150 patterns have been selected through a preliminary study conducted by 24 designers. On the 28 knit patterns, a sensibility evaluation had been made through the use of the sense of sight and sense of touch, which was followed by a frequency analysis, cluster analysis, and t-test using SPSS 12.0. The results are as follows: the fashion sensibility evaluation on knit patterns showed that structures, such as racking II or lace II, are typically elegant ('elegance'), while structures, such as links I or racking I, are typically 'active.' Furthermore, a 'country' image was displayed in structures such as cable I, cable II, and miss II. Links I appeared as 'sophisticated'. Miss I and milano were said to have 'modem' images. Lace II was regarded as 'ethnic', while racking II was said to have a 'romantic' image. 2:1 rib and milano were generally thought to be manly ('manish'). The fashion sensibility scale for each knit pattern has been made based on the above results. Based on producer and consumer responses, the sensibility evaluation on knit pattern structures showed that the two groups had similar preferences in knit pattern structures. Therefore, the fashion sensibility scale developed in this study can be used as a basic data for structure development when designing knitted fabric goods.

• The Research Journal of the Costume Culture
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• v.10 no.1
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• pp.76-88
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• 2002

The aim of this study was to describe how the type of appeal and linguistic expression of men's wear advertisement in magazines by analyzing domestic men's and ladies' magazines published from 1990 to 1999. The periodical change in advertisement trend was also discussed. 1. Type of Linguistic expression The type of linguistic expression used in advertisements far men's wear could be classified into the following five categories : emotional expression, sensual expression, egoistic expression, informative expression, and brand name expression. The periodical trend in the use of each type of linguistic expression was as follows: the occupancy rate for the type of emotional expression was roughly 50 percent in the early 90's (1990-1993) and this percentage gradually decreased during the mid 90's (1994-1196) until the late 90's (1997-1990). Despite the decrease in occupancy rate, this type was the most commonly used. While the occupancy rate fur the type of informative expression gradually increased during the decade, occupancy growth fur the type of brand name expression was slight until its rapid expansion in the late 90's. The occupancy rate for the type of egoistic expression steadily increased during the early and mid 90's but decreased to its original percentage in the late 90's. As for the sensual expression, its occupancy was insignificant up to the mid 90's and then rapidly decreased in the late 90's. 2. Type of appeal The type of appeal used in men's wear advertisements could be classified into the four categories, sensitive appeal, sex appeal, image appeal, and quality appeal. The periodical trend in the use of each type of appeal was as follows: sensitive appeal was most commonly used during the decade ; it had an occupancy rate over 50 percent in the early 90's but the rate gradually decreased during the mid and late 90's. Sexual appeal were the least commonly used; though the occupancy rate increased during the early and mid 90's it dropped dramatically in the late 97's. The occupancy rate for image appeal gradually decreased until its growth in the late 90's. The occupancy rate fur quality appeal was insignificant in the early 90's. This percentage rapidly increased in the mid 90's but relapsed in the late 90's.

• Journal of the Korean Society of Costume
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• v.46
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• pp.17-30
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• 1999

The purpose of this study is to investigate the philosophy behind the Kasaya and its evolution through its clothing material colour structure and sewing. According to the study the results were as follows. 1. The philosophy behind the dressing of the Kasaya can be found in the Therefore wearing the Kasaya symbolizes the Buddhist philosophy of Jat'ailshisongbul ("Simultaneous attaining of Buddhahood for Everyone") 2. The material symbolizes endurance and contentiment by being satisfied with any kind of clothes may they be good or bad. The material of the kasaya comes to signify the harmony among the monk's community 3. The Kasaya uses peculiar colours and the prohibits the use of the five primary and seconary colous. This is to symbolize equality wherein there is no distinction between the noble and the mean. 4. The structure of the Kasaya according the takes the form of a field The Jo is cut lengthwise and divided in nine grades following the Mahayana tradition as written in the This idea reflects the philosophy of salvation of the Pure land thought. The Je has many Jang('long') and fex Dan('short') The meaning of this is that all living beings by self-cultivation can overcome the dirty law of the secular world and follow the way of the sage who have attained their Buddha nature. 5. With respect to the sewing after finishin the sewing the Jang and the Dan are combined together representing the interdependence between the holy person and the common person. Therefore the sewing ssymbolizes the interconnection among all living beings as it arise from the "conditional causation" law. As I have shown above the philosophy behind of the Kasaya developed and was enriched as it cross over China from India to the Original Buddhist thought with which was created in India was added the richness of the Mahayana buddhist thought. As I have shown above the philosophy behind of the Kasaya developed and was enriched as it cross over China from India to the Original Buddhist thought with which was created in India was added the richness of the Nahayana Buddhist thought with which was created in India was added the richness of the Mahayana buddhist thought. As a result the Dasaya came to signify the "field image". The field-image symbolized by the kasaya came to signify the "heart-field" of all living beings. The "heart-field" by its cultivation is field with blessings. Therefore from the sanghati the Nine Grade the evolution and changes in the designs of the kasaya through the different periods of history became clearly an expression how it is possible for anybody to attend the Buddha nature. This changes also show how the Buddhist precepts became reformed from the original Buddhism.ecepts became reformed from the original Buddhism.

• Journal of the Korean Society of Costume
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• v.43
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• pp.203-224
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• 1999

As androgny presented by feminism still appear in contemporary fashion since mid 1980's feminism as a social phenomenon can be considered to habe influenced fashion history. This paper surveys the sex images of androgynous look that appeared in contemporary fashion into bisexual image and neutral images based on the feminist aspects of changes in contemporary fashion. As stated above bisexual images and neutral images of androgynous look shown in clothing are an attempt to reach one single integrated complete being by overacoming 'femininity' or 'masculinity' and combining the element of the two sexes. Consequently androgynous look creates new attraction by harmoniously coordinating characteristics of the two sexes instead of totally differentiating between masculinity and femininity that are represented in the form of clothing that has conceptual visual characteristics. Following are the conclusions of the reseach of this paper. First 'androgynous' as a feminist sex concept reflects the spirit of the times. Since the sex roles are divided and diversified and the concept of femininity is changing the concept of androgyny requiring both masculine and feminine characteristics in an essential sex concept for sucessful conduct of roles in a complex modern society. Second the integrated human image of androgynous look has led to a new culture with fashion trends that has been ahead of times by curing the functions of fashion to differentiate between men and women. Third androgynous look at the turn-of-the-centuy will not cease to exist but be a lasting fashion phenomenon while the sex concept presented by feminism has become the core to destrov the dichotomous fashion style of the 20th century. Fourth androgynous look is expressed in various manners in contemporary fashion since it shown how human beings accipt the adaptation method desperately required by the contemporary times. Androgynous look can be viewd as the desire for ultimate freedom that can be acquired by destroying the dichotomous sex concept and as the will to become a subject of the world as integrated human being. As we look into fashion culture creation of fashion is not the result of an accidental cause or an individual's work but the reflection of the spirit of the times. In this sense androgynous look introduced by a new sex concept to contemporary fashion has reflected the spirit of the times and led the cultural atmosphere and moreover it is an important fashion style that can characterize the contemporary times while lasting in the future.

• Journal of Fashion Business
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• v.8 no.1
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• pp.16-33
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• 2004

Up to now, image of femme fatale has undergone constant transformation to be inherited and developed through various genres of movies. With few exceptions such cases have represented sensuality of women by costumes with the most distinctive and exaggerated sexuality. Temptresses in movies are mostly drawn as extravagant and gorgeous one or a gloomy and dreary woman. Such an image is reinforced with make-up, hair style, accessories, attitude and manner of talking. The movie 'Chicago' is a musical film that crosses the boundaries of reality and fantasy with dancing and singing. Its lighting, stage setting, powerful and sexy dancing augmented already exaggerated and sensual costumes. Following is the analysis of costumes for two heroines as images of femme fatale. Strong contrast of color among black, red and blue on see-through & stickingly tight body suit signifies liberal mind and arrogant charisma of Velma. The contrast, haughty gestures, cropped black hair and thick makeups represent sex appeal, aggressive image, and fearlessly determined character of femme fatale. Roxie wears decent dresses in front of public and gorgeous stage costume in fantasy to convey two images of bad girl and angel. Her body suit, showing off lustering materials and dazzling bead decoration, is rather loose but still displays her bodyline to emphasize sexiness for representation of desire in fantasy. Chastity and innocence are implied with the decency of dresses in reality. They were specially chosen to draw public sympathy and indicate cunning disguise of Roxy who desperately wants to realize her desire. These dauntless costumes, which sufficiently express inside aspirations of Velma and Roxie later denote open and realistic social yearning rather than fatal desire hidden behind sensual beauty. It doesn't exist as imperfect, unrealistic and socially disdainful ambition as the image of femme fatale of paintings and movies did before in history. Femme fatale is expressed with deep cleavage, silk dresses that explicitly display bodyline, sexiness of mesh stockings with garter belts. All of these won't be utilized as a negative tool to seduce and destroy someone anymore but rather, they should represent rightful and fair nature of humans such as men's curiosity who secretly steal a look at them or female sexuality that women spontaneously want to show off.