• 복식문화연구
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• 제18권3호
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• pp.514-525
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• 2010

In the rapidly changed 21st century when the flow speed of information is so fast and the quantity of information is too much increasing, personal appearance and characteristic image-formation is highly evaluated. Nowadays personal appearance is very essential to competition and may be considered the non-linguistic expression of self-image. The beauty action of the youth is shown to follow the object which youth want to rely on or long for and it is affected by the influence of the sociocultural elements. The purpose of this study is to identify the corelation between appearance and beauty action according to the sociocultural elements of the juveniles concerning appearance and to make an inquiry into how they pursue beauty in the restrictive bound compared with the adults. As their restrictive beauty action, the practical reflection percentage of hair-style, management of face, hand and nail control will be investigated and analyzed. Furthermore this basic material of this survey was used for the development of beauty article, cosmetics and education program. With the findings of the beauty articles in which the growing generation have a deep interest, this study provided the basic materials to the customer analysis and also the reference materials to the beauty marketing.

• International Journal of Internet, Broadcasting and Communication
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• 제16권1호
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• pp.297-306
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• 2024

At a specific juncture in industrial development, animation emerges as a product imbued with discernible features characteristic of the mechanical replication era. Through the integration of technology, it continually gives rise to postmodern cultural traits. Notably, the trajectories of postmodernism in China and Western Europe exhibit divergence. Following the reform and opening up, both postmodernism and modernism found acceptance and became interwoven. Chinese animated films, influenced by postmodernism, actively challenge traditional animation norms, exemplifying postmodern characteristics such as deconstruction, intertextuality, indeterminacy, collage, and diversity. This article endeavors to delve into the discourse surrounding postmodernism in both Western and Chinese contexts. It aims to scrutinize the manifestation of postmodern features, particularly with regard to ethnic elements, traditional mythological texts, and gender representations in Chinese animated films. Consequently, it becomes imperative to contemplate the affirmative adaptation and independent development of postmodernism within the unique Chinese milieu. Building upon an analysis of noteworthy traditional animated film genres and developmental trends in China, this study focuses on animated films from the 21st century, specifically Monkey King: Hero is Back, Big Fish & Begonia, Dahufa, White Snake and Nezha: Birth of the Demon Child. The paper seeks to explore the overarching characteristics of postmodernity reflected in the linguistic environment of postmodernism in China.

• 재활복지
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• 제21권1호
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• pp.213-231
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• 2017

우반구 손상(Right Hemisphere Damage, RHD)에 따른 의사소통장애는 좌반구 손상 환자군과는 다른 양상을 보이며, 좌반구 손상 환자 대상의 실어증 평가에서는 그 장애 정도가 잘 감별되지 않기 때문에 이들에 대한 언어 평가와 중재연구가 적극적으로 이루어지지 않고 있다. 본 연구에서는 최근 10년간 국내외 관련 학술지에서 다루어진 RHD 환자에 대한 연구논문을 분석하여 RHD 환자의 의사소통장애 평가와 중재 방향에 대한 동향을 파악하고, 향후 임상과 연구 영역에서의 시사점을 얻고자 하였다. 국내외 논문 총 75편(국내 논문 13편, 국외 논문 62편)을 대상으로 연구유형과 연구영역으로 나누어 분석을 실시하였다. 연구유형 및 연구영역에서 국내외 동일하게 RHD 환자의 인지-의사소통장애 특성을 비교하고, 언어외적 능력을 가장 많이 살펴본 것으로 나타났다. 그러나 평가도구 개발 연구 및 인지-의사소통 외 능력(예: 일상생활능력, 우울)과 같이 다양한 주제에 대한 연구가 빈번히 이루어져 있는 국외 연구와는 달리 국내 연구는 아직까지 제한적인 범위 내에서만 이루어져 있었다. 본 논문을 통해 파악된 RHD 환자군의 국내외 연구 동향을 통해 향후 국내 RHD 환자를 대상으로 한 임상장면과 연구에서 다양하고 심도 높은 연구가 이루어질 것으로 기대한다.

• 한국의류학회지
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• 제37권4호
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• pp.482-490
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• 2013

This study suggests a suitable logo design application of a three colors LED light source and flexible plastic optical fiber (POF). In this study, characteristic relevant brightness of (according to the embodiment conditions of the flexible POF for logo design) for smart clothing were analyzed through two experiments. The suitable conditions of the logo design for three colors of light source were observed in 'Experiment 1'. The angle of $80^{\circ}$ to $100^{\circ}$ and the length of 8cm to 16cm appeared a more suitable condition for green-colored and red-colored light sources. The angle of $80^{\circ}$ to $100^{\circ}$ at a length of 8cm to 12cm appeared a more suitable condition for a blue-colored light source. In 'Experiment 2', a 'Klavika' in small letter was selected as suitable logo design for the application POF. The alphabet was separated by a morpheme, which is the minimal linguistic unit. All alphabets were classified into sixteen morphemes. The luminance of fourteen morphemes (realized by the embroidery method) were measured and analyzed. Subsequently, eight morphemes appeared to show a relatively equal luminance of $3-4cd/m^2$ in a green-colored light source, $2-3cd/m^2$ in red-colored light source, and $2cd/m^2$ in a blue-colored light source. Four of the fourteen morphemes, showed a 20% brighter level of luminance compared to the eight morphemes above, the cast of combination of green or red light source. This result indicates that a flexible POF with 20% less luminance are believed more suitable for four morphemes combined with a green or red light source. The results of this study provide fundamental data for further approaches to clothing logo design for the application of a flexible POF.

• 한국콘텐츠학회논문지
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• 제9권2호
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• pp.181-192
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• 2009

현대미술에 있어서 프린트는 시각이미지 분야에서도 판화가 지닌 특성을 유지하면서도 동시에 대중의 욕구를 충족하고 소통하는 데에 있어서 전위성을 띠고 있다. 그것은 판화의 형식이 르네상스 시기의 라인컷(Line Cut)에서부터 칼라 프린트의 프로세스, 사진, 20세기의 카툰의 시작, 그리고 광고와 예술, 그래픽 포스터로 이어지는 다양한 표현과 매개체의 변화에서 보듯이 고정적이기 보다는 유동적인 매체로서 복잡하고 다양한 문화 지형 속에서 말-언어보다는 개인들의 욕구와 특성을 원활히 소통할 수 있는 시각 언어 행위로써의 그 역할을 훌륭히 수행해왔음을 알 수 있다. 이 연구는 대중문화의 전위언어로서 프린트들, 즉 판화가 정치와 경제 분야에서 첫 번째, 언어와 그림언어간의 특성의 차이들과 그것들이 우리의 감각적인식이나 행동에 어떻게 작용하는 가를, 그래픽 포스터의 구체적인 특성에 초점을 맞추었으며, 두 번째로는 판화예술이 순수 예술로서 그 언어적인 행위를 어떻게 수행해 왔는가를 연구하는 데에 있다.

• 복식
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• 제58권7호
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• pp.13-30
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• 2008

Visual language is 'a form of communication without text'. Visual language is one of the strongest methods to spread knowledge. Uniforms could be interpreted as a symbolic language that establishes order in this complicated modern society by placing identity and responsibility on each members of various different organizations. In light of the above, the purpose of this research paper will be to analyze police uniforms of U.S.A, Great Britain, Italy, France and Korea as a form of visual language and interpreting them in terms of visual design in order to understand the fundamental ideas behind the designs and the effective applications thereof. Upon analysis of traffic police uniforms of each individual county mentioned above by separating each uniform's distinctive design, pattern, color, material and decoration based on visual factor, three characteristics of authority, dynamic functionality and friendliness were derived from comparing and analyzing each country's distinctive uniform design. The traditional unique role of police in our society was to maintain social order as their nature inherently possesses characteristic of authority and preservation, but has since undergone transition in many countries to appeal to the broader public by incorporating friendliness and dynamic functionality. Analyzing police uniforms in terms of visual linguistic sense requires a much more profound process of understanding beyond simple interpretation of configurative shapes. In conclusion, the true purpose of uniforms is to include and portray images of mankind's desire toward expressing ideas like 'mankind's bias toward existence beyond theirselves and the exercise of force through authority' and materializing such ideas into a physical form.

• 복식
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• 제62권6호
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• pp.200-217
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• 2012

The purpose of this research is to examine the specificity of grids to define the characteristics of clothes styles in the Joseon Dynasty period. The significance of examining of the specificity of grids is to find out arbitrary types of the features of grids involved in structuring the Jeogori in the Joseon Dynasty period one by one. The Visual Linguistic Theory was introduced as a methodological tool to exquisitely analyze the characteristics of grids in deep structures of Jeogori in the Joseon Dynasty period. This theory strives to examine sample distribution, the distribution of samples by quality and the distribution of the types of ploidy features. Through the examination, the results are as follows. The grid systems of the Jeogori consisted of diverse proportion systems reaching 86 cases, that is, sequence systems composed of multi-functional, multi-combined bodies. Most ornamental grids had feature angles distributed in a range of $2-20^{\circ}$ that showed a common preference for low sloped diagonal lines or small curvature. Although the preference for certain feature angles were prominent, the feature angles that were used were generally distributed evenly among diverse feature angles to show the characteristics of separation. Therefore, Jeogori makers in the Joseon Dynasty period can be considered as having experimented with many proportion systems to show their aesthetics. In conclusion, based on the results of the examination of feature distributions and related methods to allocate ploidy features, O-type accounted for 66% and thus it was identified that the Jeogori was characterized by O-type. Therefore, it was identified that the characteristic of the Jeogori in the Joseon Dynasty period consisted of O-type fractal structures which are formative structures unique to our nation.

• 조형예술학연구
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• 제13권1호
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• pp.39-60
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• 2008

Nature/Landscape is surrounding space in which we make living. It is considerably comprehensive tenn. but on the other hand, the site can be existence, experience, and certain circumstance with boundaries. Based on these places, through contemporary art criticism, this study is to contemplate how art since 1960s, especially, site-specific art in three-dimensional space intervene in the environment. Artists of today put more value on the process and act of art making founded on the external, and they tend to create the characteristic of site or to indicate linguistic documentation. Moreover, a large-scale tendency of contemporary sculpture and 'occupation of specific site' seems to accede spatial conception from architecture. The core that recognizes these artworks is with body, that is to say, the space in which Self becomes the subject by changing the structure of the work while moving around it. In particular, 'Site-specific Art (in situ)' sometimes determines the form inward or outward It also relates directly on viewer's five senses by looking, hearing, and feeling, touching, and interacting. For example, in Richard Serra's , the viewer who moves around the work has the role to manipulate the movement of the work by perception. Works of In situ and works that planned for specific site suggest 'occupation of site' as of the function of the work These sites are ideal and special as well as being independent. Ultimately, it seems that the creative process of contemporary artists is to carry those intended form on the structure of perception. Furthermore, law of nature such as entropy, and acceptance of contingency helped organic structure of artwork become more abundant. For Robert Smithson, entropy suggests of reaching to a state of equilibriumin which everything is the same. This means that any core is justifiable and any rank is possible. Because the world without a core is a labyrinth of boundless exploration.