• 한국의상디자인학회지
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• 제4권1호
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• pp.5-17
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• 2002

This study aimed to investigate the relationship between ideal images of women and women's clothing fashion England between 1820s and 1850s. The age was divided into two periods, which were 1820-1836 and 1837-1850. During the first period, the ideal images of women were those of fairy, spirit, and angels, which were expressed by tight waist belt, wider and shorter skirt, top expanded sleeve, wide and flat pelerine collar, feather decoration, elaborate and curly hair style, narrow and light ballerina shoes etc.. During the second period, the ideal images for women were those of lady with modesty, quietness, and weakness. They were expressed by long and full skirt, tight or bulge over the lower arm sleeve, dropped sleeve, poke bonnet, body wrapping large shawl and sober color etc.. The result shows that the ideal images of women in 19th century England were concretely expressed by various clothing fashion including hair style, shoes, and decoration. This study sheds light on psychological, historical, and theoretical approaches to clothing.

• 복식
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• 제33권
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• pp.73-88
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• 1997

In old Korea from the 4th century of 6th cen-tury the lapels of You and upper garment folded slightly. It had tight sleeves and its length was not long reaching to the hips. but from the 7th century the sleeve of You became wider and its length became longer, Chinese You folded very deeply across the breast and its sleeve was tight. The length of Chinese You was short too strectching out to the hips. From the 5th century the sleeve of the Chinese You became wider Chinese trousers with wide crotch appeared in the 4th century during the time when Ezst Jin Dyn-asty ruled China. The upper garments with the wide sleeve was common by the 7th century in China. What is specially noteworthy is that Short-dalnyung appeared in the 5th ∼6th century. In old Korea strings were used to tie the bottoms of the trousers. Trousers with tight crotch did not need the strins. korean trousers with wide lines were narrower than the Chinese trousers at the bottom and it was not necessary to use the strings for people to put them on In China there were both of wide trousers and tight trousers. People tied trousers around the kness with the strings in the formal places but they did not tied the trousers with the strings when they wore the ordinary clothes. Chinese trousers were very wide just like a skirt and they were much wider than wide Korean trousers.

• International Journal of Fluid Machinery and Systems
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• 제9권1호
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• pp.39-46
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• 2016

A high frequency hydraulic rock drill drifter with sleeve valve is developed to use on arm of excavator. In order to ensure optimal working parameters of impact system for the new hydraulic rock drill drifter controlled by sleeve valve, the performance test system is built using the arm and the hydraulic source of excavator. The evaluation indexes are gained through measurement of working pressure, supply oil flow and stress wave. The relations of working parameters to impact system performance are analyzed. The result demonstrates that the maximum impact energy of the drill drifter is 98.34J with impact frequency of 71HZ. Optimal pressure of YZ45 rock drill is 12.8 MPa-13.6MPa, in which the energy efficiency reaches above 58.6%, and feature moment of energy distribution is more than 0.650.

• 복식문화연구
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• 제8권6호
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• pp.915-929
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• 2000

As a result of research, the character of the general dress-costumes from the late 17th century to the early 18th century in Genre Paintings of DuSeo Yun and YoungSeok Cho is as follows. Firstly young women wore braided hair at the back of head and married women wore hair in the style of Unjeun-mori with Gache. The length of Jeogori (Korean traditional jacket) covered waistor shortened to waist length. The width of Jeongori was suitable, because side-seam line was straight or oblique as it comes into inner line. The width of Git was enough and Mokpan-git (shape of board) and Kal-kit (shape of knife) appeared, and sometimes used other color fabric. Sleeve was narrow and ostly folded up. Chima (Korean traditional skirt) used darker color fabric than Jeogori and the width of Chima was narrow and its length was short. Sokbaji (Korean traditional underpants) shown below were narrow and its end narrower. They were barefoot or they wore Hye (Korean traditional shoes) after putting on Beoseon (Korean traditional socks). Secondly general man's hair tie a topknot (sangtu) and put on headdres, 'Bang-lip', 'Mang-geon', hairband, 'Tang-geon' on head. The length of Jeogori became shorter from the line which covered hip to the line which covered waist. The width of Jeogori was suitable and sometimes it had a slit of side-seam line. The width of Git (neckand) was wide and the length of Git was long. 'Kal-git'appeared and it used other color fabric. The shape of sleeve was straight and narrow. They folded up their sleeves. They folded up their sleeves. They folded up their slack that look like 'Jam-bang-i'and the width of slacks was not suitable, and it was narrow. Baji (Korean traditional pants) were with or without knot, worn 'Hangjeon'(ankle band). They were barefoot and wore 'Hye'or 'Jipsin'(Korean traditional straw shoes). Thirdly a person of high birth or a low-ranked official put 'Yu-geon', 'Mang-geon', 'Gat', 'Tang-geon', 'Bok-du', 'Bok-geon', 'Whi-hang'on their head on a topknot. They wore 'Po (Shim-ui, Jick-ryeong'Jung-chi-mak, Do-po, etc)'on Baji and Jeogori. 'Po'was long and wide, it knot with 'Se-jo-dae'(string belt) or 'Po-baek-dae'(band belt). It had a slit of sideline and 'Mu'which had or had not or which were hard to confirm. The shape of sleeve was straight or very wide and its length was long. The width of Baji was wide and knotted with 'Hangjeon'and wore'Beoseon'and 'Hye'. Fourthly child's hair was short or knotted to the back of the head. The length of Jeogori reached waist line and its width was wide. It had a 'Jeogori'which had s slit of sideline. The shape of sleeve was 'Tong-su'(straight), and the length of sleeve was diverse. They put 'Baeja'on 'Jeogori'. The width of Baji was not wide. They wore them straight without or with knot, 'Hangjeon'. They were barefoot or put on 'Jipsin'.

• 복식
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• 제19권
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• pp.141-155
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• 1992

The Buddhist costumes, unlike the ordinary ones, have not been studied comprehensively due to their religious, non-popular and non-social features. In this regard, this paper aimed at reviewing the styles and symbolic Characters of the monks' dancing costumes for the traditional Buddhist ceremony of 'Spirit Vulture Peak'(The Intangible Cultural Asset No.50.) Here, the 'Spirit Vulture Peak Ceremony' is a kind of Buddhist ceremony commemorating the Buddha's preaches on the peak of Mt. Grdhrakuta by means of symbolized ritual and reformation procedures. The methodology of this study depended on the research of literatures, personal observation of the actual ceremony and the discussion with Priest Park Song-am. The dancing style of the Ceremony can be divided into four categories; the cymbal dancing., the drum dancing , the butterfly dancing and the column-beating dancing. And for the dancing costumes, the loose ritual mantle, the long-sleeve robe and the buddhist costume are used; the loose mantle and the long-sleeve robe are for the drum dancing. The style of the loose mantle is rectangular, sewn every odd knot between 5 and 25 ones. According to the record, its color was initially grey or red-yellow, but varied depending on the local rules. The four corners of the loose mantle have a rectangular-cloth embroidery of sky & king patterns, and the center is embroidered with the Sun'Moon designs or 'Om/Nan' letters in the Korean spells. The light of Sun/ Moon designs symbolizing the sky and the earth respectively are indigenous to a particular school in Korea. The long-sleeve robe has a traditional over-coat style. and is called otherwise of if some design is added. The total clothing or dancing costumes for the Ceremony include 'the Dae-ryung (meaning great peake)loose mantle', 'the White Paldad(meaning Chinese Character eight) long-sleeve robe and the peaked hat. The Dae-ryung mantle is a kind of ritual costumes with the shorter length than the ordinary mantles, and has a character 'Ryung' in Chinese spell attached with three to six colors. The White Paldae robe is shorter than the ordinary robes in the total length but longer in the length of sleeves. It is put on over the mantle from the left shoulder, and used often for the butterfly and column-beating dancings. It is hoped that this study will promote the study on the customs and rites of the Buddhism rather than on the thoughts, and contribute to the further studies.

• Journal of Chest Surgery
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• 제40권1호
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• pp.37-44
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• 2007

배경: 원발성 폐암에 대한 기관지 소매 폐엽절제술 후의 장기 생존율은 전폐절제술 후의 장기 생존율과 비교해 최소한 동일하다고 알려져 있고, 충분한 폐기능을 가진 환자에서도 종양의 위치가 적절하면 기관지 소매 폐엽절제술이 시행되고 있다. 소매 전폐절제술은 종양이 기관분기부를 침범하거나 기관분기부에 가깝게 위치한 경우에 시행된다. 저자들은 원발성 폐암에 대해 본원에서 시행한 기관지 소매 절제술의 성적을 알아보고자 하였다. 대상 및 방법: 1990년 5월부터 2003년 7월까지 경희대학교 흉부외과학교실에서 한 명의 흥부외과 의사에 의해 원발성 폐암으로 소매 폐엽절제술 또는 소매 전페절제술을 시행 받은 45명의 환자를 후향적으로 분석하였다. 최종 추적일은 2005년 4월 5일이었으며 모든 환자에서 추적 가능하였다. 생존율은 Kaplan-Meyer방법으로, 통계적 유의성은 log-rank test로 검정하였다. 결과: 평균 나이는 60세였고, 남녀 비는 44:1이었다. 조직학적으로 편평상피세포암이 39명, 선암이 4명, 기타 2명이었고, 수술은 폐엽절제술이 40명, 소매 전폐절제술이 5명이었다. 병기 I이 14명, II가 14명, III가 17명이었으며, N0 23명, N1 13명, N2 9명이었다. 3명의 수술 사망자가 있었으며, 모두 호흡기계 관련 합병증으로 사망하였다. 초기 합병증은 폐렴 4명, 무기폐 8명, 7일 이상의 공기 누출 6명, 심방 세동 4명이었다. 19명에서 종양이 재발하였다. 국소 재발이 10명이었고, 원격 전이는 9명이었다. 전체 환자의 5년, 10년 생존율은 54.2%, 42.5%였다. 병기에 따른 5년, 10년 생존율은 병기 I 83.9%, 67.1%, II 55%, 47.1%, III 33.3%, 25%였으며, 병기 I과 III간에만 통계적 유의성이 있었다. 림프절 침범에 따른 5년, 10년 생존율은 N0 63.9%, 54.6%, N1 53.8%, 46.5%, N2 28.5%, 14.2%였으며, N0와 N2간에만 통계적 유의성이 있었다. 결론: 원발성 폐암에 대한 소매 폐엽절제술은 비교적 안전하게 시행될 수 있고 장기 생존율이 양호하므로 종양의 위치가 수술에 적절하고 완전 절제가 가능한 경우 우선적으로 고려할 수 있는 수술 방법이다. 원발성 폐암에 대한 소매 전폐절제술은 수술 사망률이 다소 높지만 종양의 근치적 측면에서 고려할 수 있는 수술 방법이다.

• 복식
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• 제50권2호
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• pp.151-165
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• 2000

This study was to find out clothing design preferences, according to the clothing self-image of elderly women and to grasp the variety on clothing of elderly women and thereby to help in merchandise production planning and putting the brands into markets and to provide data for establishing a sales strategy a d to itemize women with the goods which can satisfy the desire and taste of consumer groups in the quality market. For this purpose , various researches as above were conducted .The object of this study was a total of 488 elderly women above full 55 from an elderly women and who lived in downtown Pusan. The data were analysed by using MANOVA, ANOVA , factors analysis and frequency analysis, and the Cronbach α was also applied . The conclusions made based on the theoretical background and the result of questionnaire surveys are as follows ; 1. The realistic self-image of clothing showed a similar pattern by age. 50's and 60's showed little difference by item but 70's was greater in variation between items compared to 60's. The response to each item was that most people answered "common" and they showed a pattern that responded low only in items of 'colorful' , individualistic', 'susceptible to fashion'. A similar pattern was shown by age band also in the ideal self-image and the response to each item appeared higher than in the realistic self-image , and also in items of 'colorful', 'individualistic ' , 'susceptible to fashion' the response appeared low and showed a unity. 2. The results of clothing design preferences examined on the self-image according to age are as follows ; 1) Fro jacket in the realistic self-image , 50's and 60's preferred 'tailed collar' , 'set-in sleeve', 'hips long' and 'plain jacket' and 70's agreed to the design preferences in the items except 'open collar' and also in the idealistic self-image , the degree of preference was same. 2) For skirt in the realistic self-image , 50's and 60's preferred 'tight skirt', 'normal length' , 'plain skirt' and it was appeared that 70's preferred 'pleat skirt' , 'medium length' , 'plain skirt'. Also in the idealistic self-image , the degree of preference was same. 3) For blouse in the realistic self-image, 50's preferred 'open collar', 'round neck line' , 'long set-in sleeve' , 'plain separation belt', 'open front', 'zipper' ad 60's agreed to the favorite designs with 50's except puff sleeve, and 70's appeared to prefer fastening buttons without belt. In the designs preferred in the idealistic self-image, 50's agreed with 50's of the realistic self-image and for 60's , the designs except puff sleeve type and no belt type agreed to 50's and 70's except puff sleeve agreed with 70's of the realistic self-image in their design preferences.

• 복식문화연구
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• 제23권3호
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• pp.439-453
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• 2015

This research is regarding Park Ki-Jong's Western-style court costume and emphasizes the shape and style peculiarities of Western-style court costumes in the Korean Empire from the 1876 Port Opening to the 1910 annexation of Korean to Japan. Park Ki-Jong's frock coat was made during the period of the established law from 1900 to 1910. 1) The brand was ASADA TAILOR from Kyung-Sung. 2) The shape was long at the front and back, and it featured a picked lapel and double breast with six buttons to fasten and two buttons for decoration on the upper part. 3) The frock coat's materials were black wool fabric and black ridged silk. The lining's material was black plain silk and the sleeve's lining was white with blue striped silk. 4) The front separated the upper and bottom parts. The bottom was composed of a one-piece A-line skirt that continued from the front to back. The top of the back was separated by the princess line and the center-back seam was also separated with a vent. However, the center-back of the waistline was not separated, and it continued to one piece. The sleeve shape was a two-piece sleeve style with a phony vent and two wrapping buttons.

• 대한가정학회지
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• 제20권4호
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• pp.69-81
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• 1982

Eight female subjects aged between 19 and 21 years old were used to compare 4 kinds of sleeves and pants length estimates of the effect of skin temperatures and thermal and restricted sensation. The subjects were exposed to climatic conditions between 23$\pm$$1^{\circ}C$, RH 65$\pm$5% while repose and exercise. Mean skin temperature became higher according to the sleeves and pants length. 4 kinds of shirts and pants always covered back and chest, but skin temperature of these parts are affected by the length of clothes. Thigh, uppar arm and shin which are covered or uncovered according to the lengh of the sleeve and pants, skin temperature of these parts became higher when convered with clothes than when uncovered. The subjects ballots warmer and more restricted sensation after exercise than after repose and when wear the long sleeved shirts and slacks that when wear the no sleeve shirts and short shorts. In conclusion, three quarter sleeved shirts and pedal pushers are recommended for the rest clothes and no sleeved shirts and shorts for the sports wear under the preceding conditions.

• 패션비즈니스
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• 제12권3호
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• pp.62-71
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• 2008

Costume elements are closely related with human living environment and also play an important role in the costume patterns. The East and the West have influenced and adopted each other's culture through mutual trade, which are well reflected in costume patterns and textile patterns. These days world wide fashion shows the designs applying costume details of the East and the West, which is much affected by the orientalism. The purpose of this study is to compare the sleeve patterns which take an important part in women's costume design of the Joseon Dynasty and the European Monarchy in the 16th century. Korean women's costume showed sleeves in rectangular shape with same width and long length, together with cuffs. Later they changed to diagonal shape of getting narrower toward the wrist. Western women's costume showed sleeves with puff and slash patterns. Then they were classified into French, British and Spanish styles which were getting narrower toward the wrist. Later they adopted the shape of leg of mutton which was puffed in middle and narrower toward the wrist. I n Korea and Europe, they showed respective changes in sleeve patterns, but also similarity of getting narrower toward the wrist. The East and the West are now exchanging their culture in every aspect such as politics, economics and social matters. Costume fashion is not an exception. The characteristic designs of traditional costumes are shown on global fashion, which is influenced by the orientalism.