• 대한한방부인과학회지
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• 제19권4호
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• pp.117-130
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• 2006

Purpose : We studied to analyze the cognition and realities of postpartum care and to aid the spread of oriental medicine in postpartum care and to get a basic guideline of postpartum care home and K.M.D.'s role model of postpartum care. Methods : We has made questions about the cognition and realities of postpartum care to 2 groups they are puerperants in postpartum care home at Gangdong-gu or Songpa-gu and maiden girls from December 2005 to April 2006. And then we analyzed collected data by using statistics analysis program, SPSS. Results : Almost of 2 group felt sympathy for importance of postpartum care. Puerperants pay postpartum care for without regard to economic state. Essential factors to choice a postpartum care home were sanitary condition and professionalism at taking care of infant and puerperant. 60.4% of puerperants in postpartum care home wanted segregation of infant and puerperant. The reason is for taking rest and lack of confidence at taking care infant. 69.2% of puerperants Would like to taking Herb-medicine for postpartum care. Only 13.4% of puerperants need postpartum care home is operated by K.M.D. Conclusion : It is hard to open postpartum care home by K.M.D. independently. But Puerperants has well-expectation in postpartum care by Korean medicine.

• 한국정보통신학회:학술대회논문집
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• 한국정보통신학회 2019년도 춘계학술대회
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• pp.232-235
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• 2019

일본풍의 중국 모에화 게임들이 최근 수년 간 한국 모바일 게임 시장에서 성공을 거두고 있다. 소녀 전선 등에서 시작된 이런 움직임은 2018년 벽람항로로 이어졌다. 함선 의인화 게임인 벽람항로 등은 여성 캐릭터의 선정적인 일러스트가 특징이며 소녀 전선 등의 과도한 노출과 선정성은 등급 재분류 제재를 받기도 했다. 벽람항로는 상당수의 청소년 남성 사용자층을 갖고 있어 여성 캐릭터의 과도한 선정성은 유해하다고 볼 수 있다. 본 논문은 벽람항로 게임에 나타난 300여 종의 여성 캐릭터 스킨을 분석하여 여기에 나타난 섹시즘이 단순히 특정 부위의 노출 뿐 아니라 캐릭터의 소속 국가별로 의상이 정형화 되어 있음을 밝힌다. 즉, 중국과 일본은 기모노나 치파오 같은 전통 의상이 중심이고 영국은 제복과 메이드복의 비중이 상당하고, 독일은 제복을 주로 착용하게 함으로써 해당 국가 여성의 성적 오브젝트화와 고정관념을 조성할 수 있다. 또 이런 기본 스킨이 수영복으로 유료 전환되면 상당한 노출이 이루어져 선정성을 특히 강조한다는 점에서 19금 게임이라 해도 이런 과도한 섹시즘은 여성에 대한 부정적 성 대상화 우려가 있다.

• 비교문화연구
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• 제40권
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• pp.61-90
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• 2015

본 논문에서 우리는 1840년대에 러시아 문학의 무대에 처음으로 등장했던 오필리어에게 부여되었던 전형적인 낭만적 이미지들이 모더니즘 문학 속에서 부활하며 어떤 새로운 함의들로 채워졌는지를 밝히고자 한다. 19세기 오필리어의 형상이 '순결한 처녀', '비극적인 연인', '시인의 뮤즈'라는 전형적인 오필리어의 이미지를 거의 예외 없이 재현했던 것과 달리, 20세기 초 러시아 모더니즘 문화의 지형으로 소환된 오필리어는 19세기가 보여주었던 오필리어의 낭만화와는 거리를 두는 새로운 함의들로 채워지게 되고, 또 어떤 지점에서는 놀라운 방식으로 포스트모던 시대의 오필리어, 페미니즘 비평이 새롭게 주목한 오필리어를 선취한다. 이에 우리는 러시아 모더니즘 속에 드러난 오필리어 형상의 전사라 할 19세기 러시아 문학 속의 오필리어 형상을 간략하게 개괄하고, 이어 20세 러시아 모더니즘 시 속에 드러나는 오필리어 형상의 새로운 특징들을 블록(А. Блок), 아흐마토바(А. Ахматова), 츠베타예바(М. Цветаева)의 시들을 중심으로 살피고자 한다.

• 복식
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• 제4권
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• pp.39-59
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• 1981

This article briefly researched the Picture of Welcoming the Governor of Pyongan Province painted by Kim Hong-do, penname Danwon(1745-1818?). The Picture was composed of three parts and its historical and pictorial back-ground were reviewed firstly. And later the dress and its ornament appearing on the Picture were studied. In the historical viewpoint of dress and its ornament, the Picture shown all sorts of dress from lower class maids and servants to higher officials-dignatories and governor, and dealt with nearly all dresses. In order to support and to make better understand the dresses of that age, some Korean literary works of the same period depicting the dress and its ornament were also selected. This article dealt with the dress and its ornament. especially that of 18th century of the Yi Dynasty, and comparatively studied for our folk painting with literary works. Also the picture enabled to make this study was an important data of our old dress and its ornament. This painting was considered as one of our cultural treasures. Several conclusions drawn out from this study as followings: 1) In male and female dress of lower class people; male dress was consist of trouser and coat, and coat, and over the coat SOCHANGYI were used. Female dress was basically consist of skirt and these were white color of their favourite. Mainly simple color was used for clothing and its dress style were CHAKSOO-HYONG (narrow sleeve style) which convenient for a work. 2) Yangban's dress was consist of trouser, coat and over the coat, usually DOPO(over-coat) were used and some case JICKRYONGPO (a sort of over-coat) or CHANGYI were also used. These were GWANGSOO-HYONG (wide sleeve style) of inconvenient for a work. 3) In head-gear, there was no difference of the higher and the lower. They usually used HEUC-KRIP (black Korean hat). The OCKJUNGJA, GONJAKMI (peacock tail), HOSOO (tiger beard), and YOUNGJA (chin strip) were used according to officials ranks as head-gear's oraments. 4) Local petty officials used ordinary dress and CHUPRI (warn-dress) were also used by them, and military officials used war-dress of tight sleeve. 5) The belting of over-coat are different in color according to official grade. The higher grade wore red-wide belt, but generally black narrow belt for ordinary officials. 6) All KISAING girl wore SAMHYEOIJANG upper coat. And their head ornament were black KARIMA for grown KISAING. SAYANG hair for DONGKI or maiden KISAING and BINYEO (an ornamental rod of women's hair) were inserted into the hair of rear down part of head. The water carring maid wore BANHYEOIJANG upper coat and no KARIMA were on head and their coat were gloomy color. Above mentioned are several conclusions, and there migh be a false or erroneous explanations of 18th century dress and its ornament, however I considered they were data for blank period of quite unknown.