• Journal of the Korean Society of Food Culture
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• v.32 no.5
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• pp.383-393
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• 2017

This study was conducted to analyze the dietary lifestyle of local Chinese consumers and to classify dietary characteristics according to their dietary lifestyle factors and dietary behaviors. This investigation was conducted for 1 month from 1 January 2017 targeting 300 adult males and females living in China using the online survey company surveymonkey. Four factors relating to dietary lifestyle were identified, gourmet factor, healthy factor, convenience factor and economic factor, and these were grouped into 4 clusters according to their dietary lifestyle factor scores. Group 1, the gourmet economy group, showed a high percentage of living alone and a high frequency of eating out, but a relatively low percentage of three regular meals per day. Their dietary lifestyle was sensitive to gourmet factors and economic factors, but less sensitive to health and convenience factors. Group 2, the wide interest group, contained a high percentage of individuals in their 30s, as well as more highly educated individuals and a higher income than other groups. Because their dietary lifestyle scores tended to be higher than those of other groups, they sought a variety of new foods and gourmet meals for enjoyment of dining and life, as well as well-being food materials and foods related to health. Group 3, the health economic group, constituted a family-type consumer group with lower income level than the other groups. Members of this group were seeking health food and natural food in their dietary lifestyle and tended to pursue a high economic profit ratio when purchasing food. Finally, group 4 showed a relatively higher percentage of women over 30 and individuals with a college level or higher education than the other groups. This group was more interested in health and taste than price and convenience, and showed the highest LOHAS orientation among middle aged Chinese women. Moreover, members of this group directly utilized their knowledge regarding nutrition in real life.

• Journal of the Korean Society of Costume
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• v.36
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• pp.183-203
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• 1998

The wave of Avant-garde swept away all in the unique social background so called 'October Revolution' and the early 1900 Russian society which was able to absorb and accept anything. The Russian avant-garde has been affected by the Cubism and the Futurism those had peculiarly appeared in the early twentieth century, spreaded out to three spheres: the Suprematism, the Rayonism and the Constructivism. The Russian Constructivism has appeared in this background, concretely and ideally ex-pressed the ideology of the revolution into the artistic form and made an huge influence to the whole Russian society. The Constructivist like Tatlin, naum Gabo, Pevaner, Rodchenko, Stepanova, Popova and Exter gave great effect on the Soviet Constructive fashion design in 1920's after the Revolution. The Soviet costume in 1920s hold in common the characteristicss of the Constructive graphic as it is, geometrical and abstractive form, energetic and motility. In fashion design, these graphic qualities have been showed as the application of geometrical form and architectural image, physical distortion and transformation. And in textile design, the simple, dynamical presentation has been appeared. We can classify the Soviet costume at this time into three occasions. The first term is from late 1910 th mid 1920, and it is altered from folk costume design to modern one. With Lamanova as the first on the list, using the folk mitif, the Constructive expression of simple form has been gradually revealed in design. Designers like Makarova, Pribylskaia and Mukhina produced the plane, simple chemise style with the decoration of the Russian traditional motif. From early to late 1920 is the second term, and it is at the pick of the most active processing of the Constructive design. Not only at the costume in daily life but also at the theatrical costume and textile, the con-structive design has been represented all avail-able fields. Many Constructivists including Stepanova, Popova, Exter and Rodchenko took part in the textile design and costume design so as to evlvo their aesthetic concept. The third term is from late 1920 to early 1930. The socialistic realism has dominated over the whole culture and art, the revolutionary dynamic motif has been presented also in textile design. The formative features of Soviet Constructive fashion design are; silhouette, from, motif, color and fabric. The first, the silhouette : a straight rectangular silhouetted has been expressed through the whole period and a volumed one with distorted human body shape has introduced in the theatrical costume design. The second, the form: many lengthened rectangular forms have been made at beginnings, but to the middle period, geometrical, architectural forms have been more showed and there are energy and movement in design. At the last period, only a partial feature-division has been seen. The third, the motif; no pattern or ethnic motif has been partly used at beginnings, a figure like circle, tri-angle has gradually appeared in textile design. At latter period, a real-existent motif like an airplane has been represented with graphing and simplicity. The fourth, the color ; because of insufficient dyeing, neutral color like black or grey color has been mainly covered, but after middle term, a primary color or pastel tone has been seen, contrast of the fabric; without much development of textile industry after the Revolution, thick and durable fabrics have been the main stream, but as time had going to the last period, fabrics such as linen, cotton, velvet and silk have been varously choesn. At the theatrical costume, new materials like plastics and metals that were able to accentuate the form. The pursuit of popularity, simplicity and functionalism that the basic concept of Constructive fashion is one of the "beauty" which has been searching in modern fashion. And now we can appreciate how innovative and epochal this Soviet Constructive fashion movement was.ement was.

• Journal of Korean Home Economics Education Association
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• v.15 no.3
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• pp.89-103
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• 2003

The purpose of this study was to investigate to relation of necessity and practice of contents of clothing and textiles education(classify them into four units, choice and dressing of clothes, textile and management of clothes, design and sewing of clothes, knitting and embroidery). Method of posing a questionnaire is adopted to obtain stochastic data required for pertinent analysis. This is the investigation of which 400 (high school students 204, university students 196) girl students located in Choongnam and Junrabookdo province. In this statistical analysis, SPSS 10.0 for Windows Program was utilized to calculate percentage, mean and standard deviation. Also, these materials were verified by t-test, One-way Anova, Pearson's correlation coefficient. The results of this research were as follows. First, girl students' necessity mean point were higher than practice mean point about the contents of clothing and textiles education. And necessity had a positive relationship with practices of contents of clothing and textiles education. Second, there was a significant difference in necessity and practice of contents of clothing and textiles education according to demographic variables. These results should be provide fundamental information for improving students' critical practice in their real life. Since this study has touched only limited research on the topic of clothing and textiles education, it is essential that further research covering a wider array of themes be done in the future. this study has touched only limited research on the topic of clothing and textiles education, it is essential that further research covering a wider array of themes be done in the future.

• Journal of Korean Theatre Studies Association
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• no.52
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• pp.319-357
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• 2014

Formation of 'body schema' is the start for actor to create role and becomes the root and the foundation of existing as a role on the stage. For this, an actor needs to form 'scheme of role' with escaping from own 'body schema.' 'Schema of role' is formed by acquiring through synthesizing daily basic actions, namely, walking, standing, sitting, hand stretching, bending, and touching. The body schema, which was made with simple and usual actions, has fundamental significance in a sense of becoming the body in which the past traces in a role are habituated while energy as a role flows. As for the process of forming body schema, an actor first needs to obtain the visualized materials like photo, magazine, picture and image available for seeing a role specifically and clearly based on what analyzed a character. An actor needs to have three-dimensional image available for always recalling it in the head during acting. To do this, image data available for fundamentally capturing routine actions along with body structure are still more useful. Next, the body schema is formed by interaction with environment. Thus, there is a need of passing through the two-time process of forming body schema. Firstly, the body schema is made on routine actions in a role as physical condition of a role in actor's own everyday life. Secondly, the body schema is made on routine actions available for moving efficiently and economically in line with the environment of performance. A theatrical stage is the temporal space of rhythm and rule different from routine space. What forms body schema immediately in the second phase without body schema in the first phase ultimately becomes what exists as actor's own body, not the body of a role. The body schema, which was formed as the second process, is what truly has identity as a role in the ontological aspect, comes to experience the oppositional force in muscle, a qualitative change in energy, and emotional agitation in the physical aspect, and experiences perception, thinking, volition, and even consciousness with the entire body in the cognitive dimension. Thus, the formation of body schema can be known to be just a method of changing even spiritual and emotional layer. Body schema cannot be made if there is no process of embodiment and habit. Embodiment and habit are not simply the repeated, empty and mechanical action in the body. But, habit itself has very important meanings for forming body schema for role creating. First, habit allows the body itself to learn and understand a meaning. Second, habit relies upon environment, thereby allowing an actor of making the habituated body schema to recognize environment. Third, habit makes the mind. The habituated body schema is just the mind and the ego of a person who possesses the body schema. Fourth, habit comes to experience the expansion in energy and the expansion in existence. It may be experienced through interrelation among actor's body, tool, and environment. Fifth, habit makes identity of the body. Hence, this just becomes what secures identity of a role. These implications of habit are the formation of body schema, which is maintained with the body of being remembered firmly through being closely connected with the process of neural adaptation. Finally, it sought for possibility of practice as one method of forming body schema for role creating through Deleuze's '-becoming' theory. As 'actual animal-becoming' is real '-becoming' of forming structural transformation in the physical dimension, it meets with what the formation of body schema pursues actuality and reality. This was explained with a concept as saying of 'all '-becoming' molecular' by Deleuze/Guattari. 'Animal of having imitated animal's characteristic- becoming' is formed by which the body schema relies upon environment. In this way, relationship among the body, tool and environment has influence even upon a change in consciousness, thinking, and emotion, thereby being able to be useful for forming body schema in a sense of possibly experiencing ultimately expansion in role, namely, expansion in existence.

• Korean Journal of Heritage: History & Science
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• v.47 no.3
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• pp.24-41
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• 2014

Since the celadons excavated from the Son-gok 2-ri 4th kiln site are located in the Beopcheon temple site and at close range, the similarity to the celadons excavated from the Beopcheon temple site is being raised. Thus, this study examined the correlation using a natural-scientific method. In this study, historical ceramic properties of total 19 celadons were examined and they were scientifically analyzed. First of all, according to the scientific analysis, chemical compositions of celadon clay showed a dispersed distribution at RO2 3.79-7.77mole and RO+R2O 0.33-0.49mole. When the microstructure was analyzed, most celadons excavated from the Beopcheon temple site, Wonju, which are estimated to be used in real life, had a favorable state, and some celadons from the Son-gok 2-ri 4th kiln site were found not to be glazed and sintered properly. When analyzing body crystalline phases of the celadons using the XRD method, quartz and mullite were extracted from all of the samples. And corundum was extracted from sg4 sample. Though firing temperature of each sample was different, they were mostly fired to temperatures between 1150 and $1200^{\circ}C$ and some of them experienced a low temperature of $1100^{\circ}C$ or a high temperature above $1200^{\circ}C$. Various chemical compositions and producing techniques were observed in the celadons from the Beopcheon temple site and Son-gok 2-ri 4th kiln site and it is hard to assure that the Son-gok 2-ri 4th kiln site was the production kiln site of the celadons used in the Beopcheon temple site. But according to the analysis of rare earth elements, some of the celadons from the Beopcheon temple site and Son-gok 2-ri 4th kiln site displayed a distribution pattern with certain regularity and this implies there is a possibility that the raw materials used in producing the ceramics might have come from the same origin. From the perspective of ceramic history, the celadons excavated from the Beopcheon temple site and Son-gok 2-ri 4th kiln site were produced using the same molding and sintering technique. Also, it is estimated that they were produced in the 12th or 13th century, judging from the overall shapes and patterns of the celadons.