• 대한방사선기술학회지:방사선기술과학
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• 제44권3호
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• pp.231-237
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• 2021

The ongoing coronavirus disease 2019 (COVID-19) pandemic has highlighted the importance of hospital hygiene and infection control in hospital settings. To raise hygiene awareness among ultrasound technicians, we evaluated the hygiene status of an ultrasound room, in comparison with that of objects used in daily life. Using the swab method, the following surfaces were examined: eight surfaces in the ultrasound room including the ultrasound probes (convex, linear, sector, 3D), ultrasound track ball, ultrasound keyboard, ultrasound gel (sealed and in use) and pillow as well as four surfaces of everyday objects including subway handles, common computer keyboards, common computer mouse, and cell phones. The streak plate technique was used for inoculation into media, which was observed for the formation of bacterial colonies following incubation for 24 h. Six bacterial strains were detected from objects used in the ultrasound room, including methicillin-resistant Staphylococcus aureus. Four strains of bacteria were detected on surfaces of everyday objects. The equipment and accessories used in an ultrasound room can act as vehicles for infecting patients. Establishment of standardized hygiene protocols and periodic training of the staff are recommended to avoid cross-infection.

• 한국환경보건학회지
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• 제42권4호
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• pp.255-265
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• 2016

Objectives: Mobile phones have become one of the most essential accessories in daily life. However, they may act as reservoir of infectious pathogens if they are used without hygienic practices in their handling. Therefore, this study aimed to isolate food-borne pathogens from mobile phones and investigate the characteristics of toxin genes and antibiotic susceptibility patterns. Methods: A total of 146 mobile phones were collected from 83 middle- and 63 high-school students in Busan. The surfaces of the mobile phones were aseptically swabbed. Results: Among the food-borne pathogens, Staphylococcus aureus, Bacillus cereus and Escherichia coli were detected in 26 (17.8%), 20 (13.7%) and four (2.7%) samples, respectively. There were no statistically significant differences according to school level, gender or phone type. None of four E. coli strains had pathogenic toxic genes. All of the B. cereus strains carried at least three different toxin genes among the nine enterotoxin and emetic toxin genes. Three out of 20 B. cereus strains (15%) possessed emetic toxin genes, which are rarely detected in food-poisoning cases in Korea. Among the 26 strains of S. aureus, the detection rate of staphylococcal enterotoxin genes, toxic shock syndrome toxin (tsst) and factors essential for methicillin resistance (femA) were 84.6%, 7.7% and 100%, respectively. In the antibiotic susceptibility test, there was no methicillin-resistant S. aureus (MRSA) or vancomycin-resistant S. aureus (VRSA). Conclusion: The results show that students' mobile phones in Busan were contaminated by food-borne pathogens which carried various toxic genes. Therefore, regular phone disinfection and hand hygiene is important in order to reduce cross-contamination.

• 복식
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• 제65권6호
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• pp.79-98
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• 2015

This article studied women's headdresses that appeared in the paintings of Joseon Dynasty. This examined the shapes of women's headdresses painted in genre paintings, record paintings and nectar ritual paintings from Joseon Dynasty and compared them to literatures and relics in order to analyze their types and characteristics. Headdress can be categorized into three types: (1) square cloth worn on the top of the head; (2) a kind of small cap; (3) Cloth that completely covers the head. The first type of headdress resembles the shape of Garima. In the early period of Joseon Dynasty, it was worn not only by Gisaeng, but also by both upper and lower class women. The second type of headdress includes a cap made by connecting several cloths, round cap, and cone-shaped cap. These two types are worn on top of the head. However, sometimes these were worn between the head and the chignon to fix the chignon. Also, these were used as hair accessories for decorative purposes. In particular, old women wore these headdresses and braided their white hair around them to fix the chignon. This way, the headdress not only kept the head warm, but also hid the old women's scanty hair. Headdress was usually made of black fabric and it was a simple hair accessory that replaced the wig. The third type of headdress was widely worn among lower class women. The cloth completely covered the head so that the hair would not fall when working. It also provided protection from cold and hot weather. According to paintings, there were many ways of wearing the cloth around the head.

• 한국콘텐츠학회논문지
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• 제18권5호
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• pp.472-481
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• 2018

이번 논문의 주요 관점은 연가를 모티브로한 도자 투각 촛대 장식 도자제품을 중심으로 주거 실내 공간의 구성을 고려하여 살펴보고 이를 이용하여 개발된 연가 촛대로 실내 인테리어의 공간융합 활용에 대하여 연구하려고 한다. 산업의 발달로 주거선택도 쾌적하고 안락한 주거환경에 관심을 가지고 있기 때문에 자연을 집으로 끌어들이려는 심리가 작용한다. 그래서 이를 이용한 연가촛대 인테리어 소품은 바닥과 벽과 천장을 부드럽게 이어주는 역할을 기대한다. 연가형태는 조명기구의 아우라(aura)를 두루갖추고 있기 때문에 이를 통하여 연가의 디자인적요소를 연구하고 이러한 소스를 투각촛대에 적용하여 실내조명으로서의 활용도를 살펴본다. 또한 이를 도자제품으로 개발하여 생활속의 필요한 실내공간인테리어 소품으로 적극 활용하는 것도 주요 관점이다.

• 복식문화연구
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• 제21권1호
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• pp.31-41
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• 2013

By researching Western equestrian clothing, this study investigated the process in which styles of menswear are introduced into women's sportswear. In addition to women's equestrian clothing shown in paintings and illustrations kept in overseas museums, this study also analyzed books addressing 200 years of Western dress style history, from the late $17^{th}$ century to the $19^{th}$ century. The analysis data present the design characteristics of women's equestrian clothing according to different periods. A total of 21 works were used as research data: two from periods prior to the $17^{th}$ century, three from the $17^{th}$ century, ten from the $18^{th}$ century, and six from the $19^{th}$ century. The research results show that items of trendy menswear were commonly used in women's equestrian clothing during the late $17^{th}$ century - to be specific, in all forms of clothing worn on the upper body, including coat and cravat, tricomhat, and accessories. Women's equestrian clothing after the $18^{th}$ century took the form of menswear. However, the uniform was also generally worn with a fitted, tailored redingote on top of the robe, along with pants. In the $19^{th}$ century, women's equestrian clothing became longer in length, like men's styles. The uniform gradually lost volume, and the jacket became shorter and narrower. In addition, the drawers were replaced with pants that came down to the ankles, which were similar to men's trousers. Breeches also became knee - length, thus following the style of menswear. These results show that women's equestrian clothing, worn during horseback riding, a sport previously enjoyed by Western aristocrats, were similar to what men wore. Also, in contrast to the distinct differences seen between men's and women's daily clothing, the equestrian uniforms of women showed a tendency to follow the clothing style of men.

• 복식
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• 제62권6호
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• pp.80-97
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• 2012

This study empirically examined Seo Yu-gu's views on constumes that are based on 'Boksikjigu[服飾之具]' of Seomyongji[贍用志] in Imwonkyungjeji[林園經濟志]. In 'Boksikjigu', Seo Yu-gu explained different situations and problems that were related to costumes and proposed solutions for the problems. This study examined the contents, and divide the items into caps, accessories, and clothes. The results of this study were as follows. First, Seo Yu-gu in he rited the tradition of erudition. Seo Yu-gu classified various costume items systematically, and explained in detail about the origin, history and materials of the costume items. Second, he emphasized frugality, effective use, and welfare. Seo Yu-gu argued that the sleeves should be shortened for convenience and tried to improve practicality in the functional aspect. Also, he wanted to enrich people's life by improving the convenience of goods used in daily life. Third, he tried to establish identity as a Confucian intellect. This idea was clearly shown in 'costumes'; therefore, they served as evidences that Seo Yu-gu used to correct wrong practices through precise historical investigation and review of Shim-ui[深衣], the symbol of the practice of Jujagarye[朱子家禮]. In his later years, he discovered the plain dress that was worn as a casual wear by ZhuXi[朱熹]and tried to wear it in dailylife.

• 한국의류산업학회지
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• 제13권4호
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• pp.472-477
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• 2011

In the tide of globalization, culture products play pivotal role in effectively introducing our tradition and culture to the world. This research is about developing culture products using our traditional lady's art craft work to attain the purpose of modern application through recreation of tradition along with modern technology. First, the types of traditional lady's art craft work include pouches, wrapping clothes and other accessories made by sewing except costumes. The materials used were cotton, silk, ramie, hemp and decorating techniques involved were embroidery, patchwork, quilting, knot. Second, the purpose of this study is developing culture products with traditional images which also satisfy modern sense. Therefore, items that could be used readily in daily life were selected. Such items include bags, mufflers, name card cases, brooches. In addition, the Korean traditional Patchwork images which have both western-style and modern sense were selected out of the many kinds of traditional lady's art craft works. Third, cultural products (bags, mufflers, name card cases, brooches) were created by DTP in silk with sacdong and free-styled division Korean traditional Patchwork images and quilting technique. The significance of this study lies in examining the possibility of developing modern culture products using traditional lady's art craft work. A way to further develop this study would be to shed new light on traditional crafts and local cultural resources and actively carry on the study of cultural product development to provide the foundation for developing cultural products with modern applications.

• 한국멀티미디어학회논문지
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• 제9권9호
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• pp.1184-1195
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• 2006

오늘날 인터넷의 보급으로 인해 우리의 일상생활에 많은 변화가 이루어졌다. 그 중 인터넷 패션 쇼핑몰에 대한 인식은 나날이 증대되고 있으며, 인터넷 패션 마케팅 시스템을 보다 정확히 이해하고, 가상공간에서 마케팅 활동을 강화하기 위해서는 보다 과학적이고 체계적인 연구가 필요하게 되었다. 하지만 직접 입어보는 특수한 형식을 대체할 수 없는 것이 패션몰의 큰 단점이며 이를 대체할 시스템이 갖추어지지 않은 것이 현 실정이다. 따라서 다양한 체형을 감안하여 3D아바타에게 온라인 소비자의 정보를 주입한 가상 피팅 모델을 만들고, 여러 가지 옷들과 악세사리 및 장소(배경)까지 선택해 볼 수 있는 그런 완전한 가상 패션 쇼핑몰을 구축한 후, 인터넷 패션 쇼핑몰을 이용하는 소비자에게 온라인 매장에서 옷을 입혀 온라인의 쇼핑환경을 구축하는 것은 소비자의 신뢰를 확보할 수 있는 유일한 대안이다. 본 논문에서는 PC카메라를 이용하여 영상을 입력받고 경계선을 추출하여 가상 피팅 모델에게 옷을 입히는 가상 피팅 시스템을 구축하였다.

• 한국의류산업학회지
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• 제23권2호
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• pp.212-225
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• 2021

With the recognition of YouTube as an information search tool, YouTube creators have subsequently become sources of information to consumers. Accordingly, this study aims to analyze the consumers' response of famous fashion YouTubers in Korea, and to identify differences in consumer response based on the gender and generation of YouTubers. During the period from the opening of fashion creators' YouTube channels, we collected postings on blogs and Internet cafes using textom. As a result of preliminary investigation, six fashion YouTubers were selected. First, all the selected fashion YouTubers were well recognized by consumers as fashion informants. However, Milanonna has been shown to act as a life advisor and as an informant for luxury brands at the same time. Second, female fashion YouTubers were perceived with themes related to daily life, beauty, emotions, and mood rather than fashion itself; whereas, male fashion YouTubers appeared to be more interested in fashion accessories, especially with respect to the basic style. Third, Generation Z fashion YouTubers used the most non-fashion keywords, and their Millennial counterparts used keywords related to fashion items and product purchase properties. However, consumer response to OPAL fashion YouTubers have emerged with items such as life experiences, wisdom, and advice. Moreover, OPAL fashion YouTubers showed a variety of consumer assessments and the YouTuber's personal background. This study's analysis of the differences in the consumer response to fashion YouTubers based on gender and age enables the establishment of an appropriate strategy to attract target consumers and identify their appeal points.

• 헤리티지:역사와 과학
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• 제46권3호
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• pp.134-149
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• 2013

금산 수당리유적은 5세기 백제세력이 금산 진안을 통해 가야로 연결되는 내륙교통로를 장악하여 가야 세력과 교류를 하였던 것으로 추정되는 유적이다. 출토된 철제대도와 철부, 철겸 등에 대한 금속학적 미세조직 분석을 실시하여 수당리유적에 대한 철기 제작기술을 확인하였으며 비슷한 시기 제작된 철제유물과 비교하여 5세기 전 후의 백제시대 철기 제작기술에 대한 특징과 기술체계를 파악하고자 하였다. 금산 수당리유적에서 출토된 철제유물은 다양한 제작방법이 적용된 것으로 파악되며 제작방법은 단순히 성형만 이루어진 것과 성형 후 제강공정이 이루어진 것, 성형 후 제강공정과 열처리가 함께 이루어진 것으로 크게 세 가지 방법으로 나누어진다. 성형만 실시한 1호 석실분 철겸의 경우 인부와 배부 모두 연한 페라이트 조직이 주를 이루고 있어 무기로서 가지는 실용적 기능이 떨어져 피장자의 부장 의장용으로 제작되었을 것으로 추정된다. 성형을 실시하고 침탄과 같은 제강공정을 실시한 1호 석곽묘의 철부, 12호 석곽묘의 철겸은 담금질과 같은 열처리는 생략하였지만 부위에 따른 제작 공정의 변화를 주게 되어 단순히 부장 의장용이 아닌 농경과 같이 실생활에서 사용할 목적을 가지고 제작된 것으로 판단된다. 성형을 실시하고 침탄, 열처리로 이어지는 제작방법은 5호, 12호 석곽묘 철제대도에서 확인할 수 있다. 열처리로 인하여 강해진 인부조직과 강하면서도 부러지지 않는 배부의 조직은 제작 과정에서부터 무기가 가지는 목적에 맞게 제작되어 피장자가 직접 사용하였던 것으로 추정된다. 금산 수당리 출토 철제유물의 분석결과를 토대로 비슷한 시기 백제권역에 조성된 고분군들 가운데 철제유물의 금속학적 미세조직 연구가 이루어진 천안 용원리유적, 서천 봉선리유적, 서산 부장리유적과 비교하여 철기 제작기술의 특징을 살펴보았다. 분석을 실시한 철제유물의 수가 많지 않아 공통적으로 출토된 철제대도(목병대도)를 통하여 기술변화과정을 살펴본 결과 철제대도(목병대도)는 4세기 이후 담금질이라는 열처리기술이 적용됨을 확인할 수 있었다.