• Cartoon and Animation Studies
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• s.16
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• pp.101-112
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• 2009

The purpose of this study is to analyze trilogy by means of semiotics. trilogy constructs a story as a whole while each piece delivers a concluded ending. This study used 'modele actantiel' and 'carre semiotique' of Greimas in order to clarify not only the meaning structure but also the course of narrative of . is a compelling story which reverses the fairy tale of a beautiful princess and a heroic prince. Each piece of the trilogy unfolds as following; (1)ls the love of a princess and an ogre possible? (2)Can the marriage of the couple get confirmed? (3)Can Shrek be free again? The repeated meaning structure of trilogy is the binary opposition of nature versus culture, and the narrative course forms the meaning square on the basis of the opposition. Human culture represented by the lord Farquaad and Duloc castle signifies cleanness, order, complex, anxiety, paranoia, authoritarian, and violent. On the contrary, Nature represented by Shrek and the swamp signifies barbarity, freedom, confident, maturity, unstrained, and humar. The meaning of Shrek series is generated by the structure of the basic discrimination of culture versus nature. However, as story twists the bias and fixed idea, the meaning structure of Shrek shows a unique relationship of culture and nature. Although Shrek, an ogre, lives alone in a swamp because of the bias of human world, he is depicted as self-sufficient, comfort, and broad-minded. On the basis of this meaning structure, Shrek is not a story that an ogre(nature) strives to enter the human culture, nor a story that nature wins a victory at the confrontation between culture and nature, but a story that human(culture) and ogre(nature) overcome their fixed ideas through the transition from culture to nature and vice versa.

• Asian Pacific Journal of Cancer Prevention
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• v.16 no.7
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• pp.2895-2898
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• 2015

Background: In the years 2014, coverage rates of cervical cancer screening in Nakornnayok province accounted to 76.5%. This was lower than the government's specified goal of 80%. Community health volunteers are members of a Thai healthcare alliance established to help promoting healthcare service communication and collaboration at the primary level. Such village health volunteers (VHVs) are established in most villages. Objective: To assess the knowledge and attitudes of cervical cancer screening among VHVs. Materials and Methods: The subjects were 128 VHVs from four Nakornnayok sub-districts; namely KlongYai, Chomphol, Buangsan and Suksara, Thailand. The study was conducted from December 2014 to January 2015. The questionnaire was designed to assess the knowledge and attitude of cervical cancer screening provided by the VHVs. In addition, cervical cancer screening coverage rates of each area were collected. The demographic data, scores of knowledge, attitudes, practices and the cervical cancer screening coverage rates were analyzed by one-way ANOVA. Results: The questionnaire reliability was assessed as 0.81. The total knowledge and attitude scores were 10 and 15 points. The mean knowledge scores of KlongYai, Chomphol, Buangsan and Suksara were 6.8, 7.0, 6.5 and 9.0 points, respectively. The VHVs had a high level of overall knowledge about cervical cancer screening. The mean attitude scores were 12.4, 13.2, 13.4 and 13.1 points. VHVs had a positive attitude to the promotion of cervical cancer screening at the overall level. The percentages of VHVs promoting cervical cancer information in respective districts were 72.2, 94.3, 94.9 and 50.0. However, the cervical cancer screening coverage rates were 62.4%, 34.7%, 80.3% and 47.3% respectively. Conclusions: The knowledge, attitudes and percentages of promoting information of cervical cancer screening among VHVs in the four sub-districts were high but did not correlate with the cervical screening coverage rates for each area. VHVs needed to understand socio-cultural beliefs of the women in the target population and design suitable strategies to encourage higher cervical screening coverage.

• Journal of the Korean Society of Costume
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• v.34
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• pp.169-182
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• 1997

Focusing on khotan located in the southern Silk Route which was one of the most important kingdoms in the Tarim Basin this study attempts to examine the changes of costume in Khotan by compar-ing the costumes in the painted panel showing the story of silk princess with the excavated costumes from ancient tombs. Furthermore this study attempts to inves-tigate the impacts of cultural exchange be-tween China and its western neighboring country Eastern and Western Turkestan on costume. Excavated costumes from the Shanpula ancient tomb in the region of Khotan and from ancient Niya in the esat-ern border of Khotan and discoveries from Rawak and Dandan-oilik near by Yotkan the ancient capital of Khotan are exam-ined. Basic Khotan's costume was the two piece style of tops and trousers. Over the basic costume wearing a top wear with half sleeves was popular. Skirt was worn by women. Even though there were many kinds tops were classified into the two types kaftan and tunic. Thouth Khotan maintained a association with China for a long time the style of Khotan costume had imbued to China. Top wear with half sleeves was worn frequently in Khotan. Also in China top wear with half sleeves was worn as over-wear which was called ban-xiu ban-bi bei-zi Costume style of China is covering the body profoundly and wrapping front edge toward the right. The types of chi-nese top wear with half sleeves for exam-ple round-neck·confronting front edge crossing-neck·confronting front edge tu-nic type discord with the traditional chi-nese costume style There were many cas-es that half sleeved top wear was worn as over wear in T'ang dynasty. The phenom-enon was due to the prevalence of 'ho' (foreign) and half sleeved top wear was introduced by the countries to the west of China Khotan. A round neck garment was a general type for the men of cuntries to the westof China. Also Chinese wore round neck garment since South and North Dynasty The type of Chinese round neck garment was not tunic but kaftan. From costume relics and ancient paintings the type of Khotan's round neck garment was tunic which was recorded on the Chinese histori-cal documents as " guan-tou-shan" that is tunic the type of persian costume, Even thgough the painted panel showing the sto-ry of silk princess was made in the it me when Turks was a dominion on Central Asia Khotan's costume style was not changed toward Turk's costume style and remained tunic style.

• KOMUNHWA
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• no.70
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• pp.5-15
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• 2007

Octagonal green glass bottle with long neck(녹유리장경각병) was found in the tomb of the princess Hwayu who was King Youngjo's daughter by a concubine while the tomb was exhumed and buried in another place around Bucheon City, Gyeonggi-do. This octagonal glass bottle is dark green. It was made in AD 1736-A1795 because it was cngraved an inscription of "건륭년제" the bottom. This glass bottle was taken an X-ray radiography and tested adhesives and restoration materials for the conservation. Loctite 401 was suitable as considering the translucency of the glass bottle, good adhesive property and reversibility of the adhesive so it was chosen. A minute piece of the glass was analyzed the composition and lead isotope ratio. Major chemical composition of the glass bottle consisted of SiO2, K2O, and PbO system and the ratio was 68: 18.5:5.7. Green color of glass bottle was due to Fe2O3 and CuO. When the glass bottle was made, quartz as raw material of silica and K2O as natural saltpeter(KNO3) were utilized. As a result of lead isotope ratio analysis, it was suggested that the galena as raw material of lead for glass making came from the southern part of China. These results are expected to become useful data in background of glass culture and circulation study of old glass.

• Conservation Science in Museum
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• v.25
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• pp.51-62
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• 2021

The Belt with Rhinoceros-Horn Ornaments(known as a seodae in Korean) from the family of Princess Deokon's descendants housed in the National Hangeul Museum underwent emergency treatment for a special exhibition in 2019 upon the request of the National Hangeul Museum. Priority was given to the restoration of the original form of the severely damaged belt and the repair of its detached horn ornaments. Prior to the conservation treatment, researchers conducted a theoretical study of the belt with rhinoceros-horn adornments to learn the names of its structural components and the changes in form that the type experienced by period, thereby establishing a plan for conservation treatment and setting a direction. Among the belts worn by officials from the Joseon dynasty, rhinoceros-horn ornaments were attached to those of officials of the first rank and were considered the most precious behind the king's belt with its jade ornaments. The rhinoceros horn adorning the belt is classified into three categories according to quality. This belt has horn adornments of the highest quality, falling under the "grape design" category with dark brown dots concentrated in the center. The belt has a rectangular shape and lacks a buckle, reflecting a popular form from the nineteenth century. The structure of the belt was identified over the process of conservation treatment, offering information about its method of production. In addition, comparison of the relic with belts with rhinoceros-horn ornaments depicted in Joseon-period portraits of officials allowed the identification of changes in formal features and the detailed structures of belts with rhinoceros-horn ornaments by period. It confirmed that the belt subject to conservation treatment shows the features of belts with rhinoceros-horn ornaments produced in the nineteenth and twentieth centuries.

• The Journal of the Korea Contents Association
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• v.22 no.7
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• pp.599-606
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• 2022

This study investigates trends and changes in gender expression in film and animation. It compares how gender, race, and class discrimination that was socially and culturally expressed differently in past and modern media contents. Indiscriminate content appreciation by the "digital native" generation is likely to unconsciously create false stereotypes. In this study, 「Aladdin」(1992) and 「Aladdin」(2019) were analyzed. This study looks at in the characters have changed since the original, which was a 2D animation in 1992, was re-released as a live-action film in 2019. For character analysis, we compare and analyze major characters and find out the differences based on the nine personality types of Enneagram, which define human personality types. As a result, Princess Jasmine's character change was remarkable. In the past, Disney animations had the majority of patriarchal and male-dependent princess characters, but now Disney is aiming for self-directed and independent female characters. Also, scenes that could instill stereotypes of gender, race, and class were changed. Disney's change can be seen as expressing the gender image that the public wants. Analysis of the change in character's personality in these works can be a useful methodology for creating attractive characters for the public.

• Journal of Korea Entertainment Industry Association
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• v.13 no.1
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• pp.1-9
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• 2019

In this paper, it is predicted that the tendency of planning and genre films to produce high - quality films will continue, but it is necessary to have high value and meaningful films and solid storytelling. From the blockbuster warships to arts and low-budget films, the movie genre is centered around fiction and storytelling. However, in the case of Princess Deokhye, it is difficult to recognize any categories of entertainment or artistic due to the fact that it is highly visually and has a high historical status and low awareness. And the distortions of the facts have caused a lot of controversy. However, it seems that Dongju and Park are usually composed of individual - oriented narratives and can be freed from the artistic approach and historical facts in the material. In addition, historical facts should not be distorted or exaggerated. Through this study,

• Journal of the Korean Society of Costume
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• v.59 no.5
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• pp.180-201
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• 2009

I scrutinized the idea that Parhae Marek was inherited from Kokuryo which was presented in "The study on the Marek" published in the journal of the Korean Society of Costume 55-5, and concluded the following results: 1. The Marek which Samguk sagi recorded is the red head scarf used for dancers who do Koguryo dance in the Babarian Music System in Tang dynasty. Since its original record Tong dian tells that Kokuryo performers' costumes then had strikingly changed and Quichi and GaoChang dancers also wore Marek, so the idea that Marek was originated from Koguryo should be reconsidered. 2. Considering the Yaksoori mural's indistinguishable condition as well as the same scenes from other Kokuryo mural paintings, I can't evidently tell that the first person who carries shouldering drum puts Marek on. 3. should be pronounced [Mal] for the meaning of a head scarf and its definition can't be limited only for the sash type. 4. Diverse historical data on head scarves deny the assumption that the sash type of hairband would have been succeeded from Kokuryo to the Parhae Marek. 5. The Marek of Princess Junghyo's mural painting can be an example that shows the costume of Tang influenced Parhae's. But the similarity in styles of costume between contemporary countries doesn't mean their reciprocal racial or political identity.

• The Research Journal of the Costume Culture
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• v.4 no.3
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• pp.373-381
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• 1996

Draping design system organized by European about 13C has been developed greatly for a long while, but for the purpose of the practical use the Dress form similar to human body has been needed. In order to make three-dimensional effect as fitting Muslin ot the Dress form. the Basic lien has to be established in Muslin and Dress form each. At this time, Shoulder-blade level is indicated from various angles : measure down 10cm from the back neck point, a quarter of the back neck point to the waist lie, the half-way point between neckline and bust line, measure down 41 inches from the back neck line, measure down 3 inches from the top edge of the muslin at center back and cross mark for neck line, and so forth. This study established the Basic line through the two ways of them (B.N.P∼B.L/2, B.N.P∼W.L/4), did tight fitting to the 5 kinds of Dress forms which ar normal type in the drop value(the difference between hip circumference and bust circumference), and acquired Basic Pattern. After the experiment, fitness are throughly investigate by statistical analysis of measurements. As a result, this study finds out that fit is proper when shoulder blade level is situated on a fourth of the back neck point to the waist line and a quarter point between back neck point and waist line, and waist dart is situated on the back center line and princess line.

• Journal of the Korean Home Economics Association
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• v.40 no.8
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• pp.183-190
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• 2002

This study was aimed at investigating the satisfaction in relation to clothing design and size-fit for nurse uniform in Korea. The subjects were 986 female nurses working in 12 hospitals selected by convenience sampling. The data were collected by questionnaires. Using SPSS package, frequency, percentage, t-test, ANOVA and SNK test were conducted. The results were divided into 2 categories as fellows; 1) Results of the satisfaction with the size-fit and size system of the nurse uniforms : Nurses satisfied at the individual size-fit system than ready-made size system. There was a considerable difference of the satisfaction with the size-fit depending on age and clinical career. And more than half of nurses were needed the concrete and precise size system. 2) Results of the actual design condition and clothing satisfaction : Nurses wore two-piece pants suits more than classical designed one-piece style. The princess-line, convertible collar and yoke design were preferred for nurse uniform with the high satisfaction. 41.6 percent of respondents used the cap obligatory and the white color and a patterned textile were generally used. The used fabrics were only polyester and cotton/polyester mixed spinning.