• Cross-Cultural Studies
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• v.25
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• pp.237-265
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• 2011

This thesis is to argue what is the meaning of the expression of cherry blossoms appearing in "Genjimonogatari(源氏物語)" in relation with the structure of Monogatari after checking each example. First we reviewed some examples of the works before "Genjimonogatari", and clarified that cherry blossoms were used as metaphorical expressions of a beautiful woman in waka(和歌), and that at the same time cherry blossoms functioned as the symbol of futility, anxiety together with beauty. Especially in "Kokinshu(古今集)" we identified that there increased the examples where the combination of the expression as falling cherry blossoms, and fog and cherry blossoms was done. In "Genjimonogatari" we examined the examples of cherry blossoms of Chapter 1, Chapter 2, and clarified that Murasakinoue(紫の上) was a woman with an ideal character in looks and inner personality through the diverse viewpoints of characters. In Monogatari of Kashiwagi(柏木) of Chapter 2, the scene where he peeped Onnasannomiya(女三宮) was composed by the combination of cherry blossoms and fog, and we pointed out that we could feel the anxiety, ominousness of the love of the couple through this scene. And the composition of these scenes was also repeated in Monogatari of Chapter 3, and we discussed through these examples that the figurative expressions of cherry blossoms were used about the object of the love not to be realized. Next, we checked that Yugiri(夕霧) who had observed Kashiwagi's love toward Onnasannomiya gave a figurative expression of Kashiwagi's wife Ochibanomiya(落葉の宮) as cherry blossoms. Although Genji(源氏) realized Onnasannomiya's immaturity, Kashiwagi compared her to "cherry blossoms", and Yoogiri compared the woman whom Kashiwagi recognized as "Ochiba(落葉)" to "cherry blossoms", through which we have read the twisted human relation and ironical structure of Chaper 2. Finally, we checked the examples of cherry blossoms in Ooigimi(大君), Nakanokimi(中君), Ukihune(浮舟) who were Ujijujo's heroines. Ooigimi and Nakanokimi were expressed as cherry blossoms by Kaoru(?) and Nioumiya(?宮) and were disclosed as their ideal women. In contrast, Ukihune had something to do with two men with no such figurative expression, so it was pointed out that the absence of such metaphorical expression clarified that the meaning of her existence was nothing but the meaning as a mesiudo(召人).

• Journal of the Korean Society of Clothing and Textiles
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• v.18 no.3
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• pp.298-310
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• 1994

The purpose of this study was 1) to analize the female figures with potbelly in the nude of the 15th-l6th century, 2) to find out the historic event which made these figures appeared, and 3) to clarify the influence these figures on dress. The results were as follows: 1) There was a sudden decrease in population by the Black Death in the Middle of the fourth century, so supplement of labor was urgent demand at that imp. Childbirth was the only way of supplement of manpower. 2) Therefore, the figure of pregnant woman was regarded as the female figure ideal. The artists depicted this figure ideal in nude. 3) This female figure ideal changed the form of dress. Pillow, pad, and special undergarments were used to make potbelly.

• Journal of Fashion Business
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• v.11 no.2
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• pp.145-154
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• 2007

The purpose of this study is to analyze University Woman Students' recognition of their physical bodies and the effects that their recognition has on their image and satisfaction of their physical bodies. The result of study is as follows. 1) According to the result of the analysis of the difference between University Woman Students students' practical physical sizes and ideal sizes, it was showed that their heights and burst should be larger than their practical physical sizes but their waist, hip, and weight should be reduced.2) According to the result of the analysis of the factors for the evaluation of University Woman Students students' behavioral body images, Factor I was 'Management of Appearance', factor II was 'Management of Weight' and Factor III was 'Satisfaction of Appearance'. Considering the result of correlation of factors of the body images, it was showed that the more interest they had on their appearances, the more management they had on their weights. 3) They had comparatively positive recognition on their physical bodies. However, regarding their degrees of the satisfactions on their physical parts, they showed somewhat dissatisfaction on all the items of their physical parts. 4) According to the result of the analysis of the correlation between their recognition of the physical types and their satisfaction of them, it was showed that they had more satisfactions when their heights were higher and their weights were lighter. In addition, it was showed that they had more satisfaction when they had larger busts and regarding their waists, hips, upper arms, lower arms, wrists, thighs, and calf measurements, they had more satisfactions when they had thinner ones and regarding their shoulders' measurements, it was showed that they had more satisfactions when they had narrower shoulders' measurements.

• Journal of the Korean Society of Clothing and Textiles
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• v.47 no.3
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• pp.409-424
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• 2023

This study aimed to reveal prospective fashion designers' predominant perceptions regarding the ideal body size and shape and to suggest an educational guideline for the design process. Sketch tasks and surveys involving the college students in a fashion design department were conducted over the course of a year. A total of 113 participants designed a white cotton shirt for women in their 30s and 40s. Immediately after the sketching task, the participants answered survey questions on the specific body sizes and shapes they had been picturing. According to the results, the participants designed shirts for a medium-sized, hourglass body shape. As the percentage of women in their 30s and 40s with an hourglass shape is low, a discrepancy exists between the ideal design and the body of the actual consumer. Furthermore, 55% of the participants indicated that they would change the design for a woman with a different body shape. The majority of the participants agreed that understanding the body shape and size is important when initiating ideas. These findings can help educators understand the importance of improving designers' awareness of various body sizes and shapes; they also suggest new directions for fashion design education.

• Fashion & Textile Research Journal
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• v.3 no.5
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• pp.423-436
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• 2001

The present study focused on the color of clothing for elderly Korean women, from the viewpoint of helping elderly people live more interesting lives with regard to their clothing, considering that the Korean society will become elderly-oriented in the near future. We took photographs of the elderly served as the models, displayed them on a computer screen, and produced 75 colors of the clothing in the elderly using computer graphics. The 75 colors were evaluated by 2 groups, one of elderly Korean woman group and a group of female students. We compared the ideal colors for and the colors actually worn by elderly people. The evaluation of the clothing colors for elderly women differed between the elderly woman group and the female student group. Analysis of images of the clothing colors selected by the elderly women showed that they attach importance to elegance when selecting clothing colors and have a strong desire to become active. The images held by female students concerning ideal clothing colors for elderly women closely pertained to commonness and inactivity.

• The Research Journal of the Costume Culture
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• v.12 no.2
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• pp.224-238
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• 2004

This paper analyzes the similarity of fashion in the 1920's and 1960's. Fashion is a reflection of Zeitgeist. The similarity of fashion appeared in the similar social ideal period. The fashion of the 1920's and 1960's have a lot of similarity in many respects. Androgyny was the new word. The woman cut her hair short, wore short skirt, and projected a self-confidence that was considered by many to be too masculine. The new fashions also appeared very youthful. The cult of eternal youth was born. The mature woman was no longer requested. Instead, in the face of changing lifestyles and extremely rapid technological development, taste ran in favor of a young, athletic, and mobile ideal. The new fashions do-emphasized curvaceous shapes through short dresses and short hair-both styles were supposed to express youthfulness. Characteristic of the times was the short loose dress: straight silhouette disguised feminine curves. The new dresses were invented for very young, slim, and wide-eyed women. The common Zeitgeist of the 1920's and 1960's represents the cult of youth and the adoption of innovative style, which emphasized decoration-cleared simplicity, functionality, practicality, activity, androgyny. Innovative short skirt, youth fashion, androgynous style, unisex style, tubular silhouette, short hair style, and eyeline-emphasized makeup were analyzed by the similarity of fashion in the 1920's and 1960's.

• Journal of Fashion Business
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• v.12 no.4
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• pp.99-113
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• 2008

The purpose of this study is to compare the social image and the external image of a Korean woman in 1970s and find out that the make-up can provide an important clue to examine the image of a woman in a given period. The research scope covered 10 top news of the daily newspapers and articles of women's magazines. A focus was made to an analysis on words and photos from them. The relationship of each image scale was examined by comparing the linguistic image scale and the visual image scale. The results were as follows : First, a frugal and tidy image. It was the look of our tidy, simple, traditional and classic woman. Second, an image of a cute and pure lady of refined manners. In 1970s, women were supposed to be 'a loving wife', a cultured female image with a faithful role of a 'wise mother' and a lady of refined manners as the best value. Third, a frivolous and decadent image. Double-faced image of a woman which included the women, who had to live as the lady of refined manners during the daytime and seductive woman during the night. Fourth, an image of a contemporary working woman. It was the image as a chic, confident and dignified working woman requested by the society of the times. Namely, it can be understood that women had a make-up of a soft and gorgeous tone as an expression of a will to keep a confident and female aspect in the course of working in the society by the women experiencing 1970s, the turbulent period. Consequently, it is possible to understand that the make-up was utilized as a means to express an ideal beauty of the time pursuant to the historical background or feature.

• Journal of the Korean Society of Costume
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• v.37
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• pp.163-180
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• 1998

In western clothing, woman's body was port-rayed sexually as the distinction of sex was appeared, and the parts of body contain some kind of symbol of sex. Woman's body was diversly accentuated according to the divers ideal beauty concepts pursuits in the different periods. Today, in a Post-industrial Society whose social structure is very divers and complicated, the interpretation of woman's body reveals so various as the complex social structure. The purpose of this study is to comprehend the various interpretations of woman's body in the contemporary clothing. The concrete purposes of this study is as follows. First, this study is to define the concept of natural body and built body by differentiating the parts of body and searching for the sexual symbols accentuated in the western clothing. Second this study aims to review, the histori-cal process of prejudged distinction of sex in the western clothing, and to analyse the con-temporary sociocultural which forced to change this prejudged distinction of sex. Third, on the bases of this analses, this study also aims to present various interpretation on divers aspects of woman's body portrayed in the contemporary clothing. The interpretation of woman's body in the contemporary clothing were as follow. First, it is a body interpreted as a natural and neutral body which is based not so much on prejudged division of sex as on the expression of the body structure. And, it is a decomposed and recomposed body which is based on plastic principles. This body is portrayed by a layer-ing and wrapping which interrogated such traditional symbols of western clothing as collar, sleeve or trousers, skirt, etc. Second, it is a sexually symbolized body. This body is display-ed by exposure or sexual accentuation in the clothing. To conclude, a body interpreted in the contemporary clothing is no more a body accentuated by division of sex, but a body which per-mits indefinite hypotheses and interpretations under synthetic imagination.

• Journal of Korean Philosophical Society
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• v.129
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• pp.53-82
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• 2014

This paper analyzes the concept of Lacanian subject and the structural definition of sexual difference between man and woman, and criticizes some problems of those definitions. It seems to me, to do so, that it is important to know precisely the core terms of psychoanalysis quoted by Lacan. We should analyze the basic meanings and the relation of the Imaginary, Symbolic and the Real, of ideal ego and ego ideal, of phallus and signifier, of desire and the other, of consciousness and unconsciousness, of alienation and separation, etc. I'm going to discuss the relation between the Imaginary and the ideal ego in chapter 2, and then, deal with the relation between the Symbolic and the ego ideal in chapter 3. I'll explain both similarity and difference between the ideal ego and ego ideal through those discussions. In chapter 4, I'm planning to explain the relation among the other, desire and the subject of unconsciousness. In chapter 5, I'll analyze the meaning of phallus and signifier. I'll criticize the Lacanian structural definition of sexual difference on the basis of the work made in former chapters. These discussions will lead to my final conclusion that the concept of Lacanian subject and the structural definition of sexual difference are only dependent on reductionism regarding everything as symbolic, which has in itself a lot of contradiction. In order that All discussions about sexual difference have at least a objective meaning, they have to rely on anatomical differences between man and woman.

• Journal of the Korea Fashion and Costume Design Association
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• v.15 no.3
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• pp.187-197
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• 2013

This study examined the ideal type of a man that women prefer and the recognition of men for their own appearance management with the rise of the importance for appearance management today. The prerequisite which matters most in time of considering a man as a date of love predominantly was centered on education, and the prerequisite which goes first among the rest in time of judging a man as the mate of marriage was undoubtedly his financial status. It is regarded that as for a date of love the visual image or the specialty other than the conditions in reality mattered most, and concerning a mate in marriage the actual financial conditions had the priority. When a man is evaluated, the percentage of appearance took the highest rate of 60~80%, and in his appearance, the general harmony was considered as the most important factor. As for the recognition of men for their appearance management, women tend to have an affirmative realization for managing their own appearance in general, and the reason was they believe that the way men take care of their own appearance belongs to personal free will. The perception for a man with a decent appearance was very positive, and the ground for this was that once the appearance looks handsome, he seems gorgeous. The recognition for men's cosmetic surgery showed the affirmation over the average, and an opinion that the settlement of personal appearance complex will help them out emerged as the ground for this affirmation, and so it is regarded that the aesthetic surgery of today and the perception for men's appearance management have become universal phenomena unlike former days with the reflection of visualization of the external visual and lookism shown from various media.