• The Journal of the Convergence on Culture Technology
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• v.10 no.3
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• pp.659-666
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• 2024

Germaine Tailleferre is the only woman composer among the French group of six composers known as "Les Six." In her 70-year career, she has left behind numerous chamber music pieces for the piano. Although her chamber music works constitute a significant portion of her overall compositions, research focusing on her piano chamber music pieces is lacking. Therefore, this study introduces a comprehensive list of Tailleferre's chamber music pieces and categorizes each piece according to its performing level of difficulty. Additionally, through a detailed analysis of her <Sonata for Two Pianos>, composed in 1974, this study aims to understand her musical style and artistic world, particularly regarding form, harmony, and melody. <Sonata for Two Pianos>, rooted in the unpretentious and light musical language characteristic of the salon style popular in Parisian cafes and music halls at the time, can be seen as a multi-layered work reflecting various musical languages such as Impressionism, and Neo-classicism. This study may contribute to a better understanding of Tailleferre's musical world and aid in discovering and expanding new literature on 20th-century piano chamber music.

• Management & Information Systems Review
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• v.39 no.2
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• pp.95-112
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• 2020

This study intends to identify the main triggers of consumer participation behavior by multi-dimensionally reviewing factors affecting active participation behavior in order for consumers to receive better service at service encounter. We also want to review the impact of service contact employees' human services on consumers' experience of positive and negative emotions while performing participation behavior. This study targeted beauty salon services. Beauty salon services are one of the most important industries for human services because of the relatively long time interaction and the high degree of consumer participation that has a great influence on service outcomes. For an empirical analysis survey was conducted on 446 general consumers. SPSS and AMOS analysis was performed. The results of this study are as follows. First, relational benefits were not significant for consumer participation behavior, and functional benefits and hedonic benefits were significant. Consumer participation behavior was found to have a significant effect on positive emotions, but not on negative emotions. It has been shown that the service provider's human service has a significant effect on both positive and negative emotions. Finally, both positive and negative emotions were found to have a significant effect on service quality. Since beauty services are an industry with high social visibility, it has been shown that relational benefits does not significantly affect consumer participation. Negative emotions perceived by consumers did not significantly affect service quality. It may mean that some negative emotions are insignificant. Further studies will need to classify the negative emotion dimension more closely. It is necessary to review the feelings arising from service employees. Finally, it is necessary to review the various types of services of contact employees.

• Journal of Industrial Convergence
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• v.18 no.4
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• pp.111-123
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• 2020

This study analyzed current use of 2-block haircut styles and preferences for accurate understanding of the haircut and enhancement of its efficiency. For this, a questionnaire survey was performed against 441 men in their 20~40s living in Jeollanam-do from June 27 to July 6, 2019. A total of 430 copies were used for final analysis. The collected data were analyzed by frequency analysis and cross-tabulation analysis, using SPSS 21.0, and the results found the followings: When asked about the factors affecting their choice of the haircut, 58.4% (20~40s in age) responded, 'my own decision'. Second, 61.2% said that they were interested in a 2-block haircut, and 54.7% responded that they had the haircut before. Among them, 92.3% said that they were satisfied with the trendy undercut. The above results confirm that men's appearance management is now essential, considering changes in social environments. People envision their hairstyle and visit a hair salon based on their own will, not after recommendation from their acquaintances. Many customers prefer a 2-block haircut because they believe it looks good on them. In addition, they choose the easy-to-care undercut to have a clean and neat image. It is anticipated that the study results would make a contribution to suggesting basic academic data and enhancing sales in a 2-lock haircut which is expected to remain popular. Therefore, it proposes in-depth studies on new 2-block haircut styles for women.

• Archives of Craniofacial Surgery
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• v.11 no.1
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• pp.28-32
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• 2010

Purpose: In accordance with the increasing number of accidents caused by various reasons and recently developed fine diagnostic skills, the incidence of orbital blow-out fracture cases is increasing. As it causes complications, such as diplopia and enophthalmos, surgical reduction is commonly required. This article reports a retrospective series of 5 blow-out fracture cases that had unusual nerve injuries after reduction operations. We represents the clinical experiences about treatment process and follow-up. Methods: From January 2000 to August 2009, we treated total 705 blow-out fracture patients. Among them, there were 5 patients (0.71%) who suffered from postoperative neurologic complications. In all patients, the surgery was performed with open reduction with insertion of $Medpor^{(R)}$. Clinical symptoms and signs were a little different from each other. Results: In case 1, the diagnosis was oculomotor nerve palsy. The diagnosis of the case 2 was superior orbital fissure syndrome, case 3 was abducens nerve palsy, and case 4 was idiopathic supraorbital nerve injury. The last case 5 was diagnosed as optic neuropathy. Most of the causes were extended fracture, especially accompanied with medial and inferomedial orbital blow-out fracture. Extensive dissection and eyeball swelling, and over-retraction by assistants were also one of the causes. Immediately, we performed reexploration procedure to remove hematomas, decompress and check the incarceration. After that, we checked VEP (visual evoked potential), visual field test, electromyogram. With ophthalmologic test and followup CT, we can rule out the orbital apex syndrome. We gave $Salon^{(R)}$ (methylprednisolone, Hanlim pharmaceuticals) 500 mg twice a day for 3 days and let them bed rest. After that, we were tapering the high dose steroid with $Methylon^{(R)}$ (methylprednisolon 4 mg, Kunwha pharmaceuticals) 20 mg three times a day. Usually, it takes 1.2 months to recover from the nerve injury. Conclusion: According to the extent of nerve injury after the surgery of orbital blow-out fracture, the clinical symptoms were different. The most important point is to decide quickly whether the optic nerve injury occurred or not. Therefore, it is necess is to diagnose the nerve injury immediately, perform reexploration for decompression and use corticosteroid adequately. In other words, the early diagnosis and treatment is most important.

• The Journal of the Convergence on Culture Technology
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• v.6 no.2
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• pp.177-182
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• 2020

The purpose of this study is to compare the perceptions of hairdressers, hairdressers-to-be, and ordinary people on hairdressers. For this, 286 hairdressers, hairdressers-to-be, and ordinary people residing in Daegu and Gyeongbuk were surveyed and analyzed. The study results are as follows: First, the job preferred by hairdressers is running their own salon. Most of those involved in the beauty industry considered that anyone who has an aesthetic sense can become a hairdresser, the average education level is college, and 5-10 years of experience would be adequate. On the other hand, the majority of the ordinary people thought different. Second, most of the hairdressers thought that professional theoretical knowledge and skills are required for hairdressers and that they have the role of leading beauty. On the other hand, the majority of the hairdressers-to-be and ordinary people considered that what it takes to become hairdressers are design sense and creativity and that they should take the responsibility of cleanliness and service. Meanwhile, all the research subjects shared common ideas that the competence required for hairdressers is skills and female hairdressers are preferred. Third, the most common cause for hairdressers to move from a workplace to another was wage-related issues, and the most answered entry-level salary was between KRW 1 million and 1.5 million and average working hours a day 9-10 hours. Fourth, the research subject groups showed significant differences in their perception of the occupation of hairdresser. The results suggest that although the social perception of hairdressers is improving, ordinary people still need to change their perception.

• Journal of the Korean Applied Science and Technology
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• v.38 no.2
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• pp.465-475
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• 2021

This study conducted an online and offline survey of 210 people from March 11 to 27, 2021 for the purpose of investigating and analyzing the current status of skin stress recognition and beauty care behavior due to wearing masks. The collected data were analyzed using SPSS 25.0 with Cronbach's α, Frequency Analysis, Chi-square test, and One way Anova. The average daily mask wearing time of more than 7 hours during the Covid-19 period was 43.8%, and skin stress recognition by wearing masks was highest among those in their 30s (M=4.27) and service workers (M=4.64), and those with acne and skin troubles (M=4.47) perceived high stress. The most important factor for home care treatment was cleansing(67.6%) and for beauty care was skin care(36.7%). Considerations factors on beauty care were 54.3% for service and customer care capabilities, and on body shape management method 45.7% for exercise. According to this study, respondents are recognizing skin stress due to the long-term use of masks, and home care treatment has been increasing as the esthetic salon has become unstable to visit due to the Covid-19 epidemic.

• Journal of Naturopathy
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• v.11 no.1
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• pp.51-61
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• 2022

Background: There was a need to investigate the interest in beauty and consumption sentiment in beauty shops on COVID-19 among beauty customers in their 20s and older in Daejeon Metropolitan City. Purpose: To investigate the degree of interest in beauty and consumption sentiment of beauty shops according to COVID-19 targeting beauty customers. Methods: A survey was conducted targeting beauty customers in their 20s or older in Daejeon. A total of 263 questionnaires were analyzed using the SPSS 27.0 program. Results: Beauty customers' interest in beauty was above average in hair style, makeup, skin care and body shape management, but nail care was below average. In addition, it was found that there were some statistically significant differences or no difference in beauty shop consumer sentiment due to COVID-19 according to gender, marital status, age, and occupation. It was found that there was a positive (+) correlation between interest in beauty and consumption sentiment of beauty shops due to COVID-19. Conclusion: The beauty interest in beauty of the customers in their 20s or older in Daejeon Metropolitan City and the consumption sentiment of beauty shops on COVID-19 outbreak indicated some statistically significant differences depending on gender, marital status, age, and occupation, or seems no difference. Therefore, it is evaluated that the results will serve as basic data for research in this field.

• 지역과문화
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• v.7 no.2
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• pp.85-111
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• 2020

In Korea, the independent publication market has grown since it came into existence in the 1990s. In 2008, the country's first independent bookstores selling independent publications opened. As of late 2019, there were a total of 466 independent bookstores in Korea and the number of independent bookstores rapidly increased for the last decade. However, the closing rate of independent bookstores is rapidly increasing. This trend is also shown in independent bookstores in Gwangju. Recently, the closing rate of independent bookstores in Gwangju is more than twice as high as the national average. Against this backdrop, this study intended to identify the current conditions of independent bookstores in the city, analyze the problems facing them, and find solutions. Independent bookstores in Gwangju currently make various efforts such as book curation, management of various supplementary programs, and book markets. However, the bookstores have problems including the curation and programs focused on specific areas, focus on limited generations, dependence on publications from the Seoul metropolitan area. To address these problems, this study proposed solutions such as diversifying publications through planning and developing of local contents, strengthening the taste-based salon nature, organizing networks of independent bookstores, and systematically incubating independent bookstores. At the system level, this study also suggested a need for local bookstore certification system, a complete execution of a fixed book price system, and a fair provision rate.

• The Journal of Art Theory & Practice
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• no.9
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• pp.171-193
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• 2010

This paper examines Fernand Khnopff's Symbolism, focusing on the I Lock My Door upon Myself as a manifesto of his artistic credo in style and theme. Its title was originally in English, originating from the poem "Who Shall Deliver Me?" by Dante Gabriel Rossetti's sister Christina Rossetti. I use the term "Social Symbolism" which combines a nationalist perspective with traditional French Symbolism, in order to explain how the image of Bruges is represented in his oeuvre. Symbolism calls for psychological introspection evoking death, love, silence, and solitude and recluse from realty in pursuit of the Unknown and the Ideal. Although Khnopff shared this idea, he departed from symbolist tradition by incorporating a political milieu in his paintings. First, I discuss Khnopff's early stage in the formation of his artistic concept, including his family background as well as his early opportunity to visit the Exposition Universelle in Paris where he formed his early interests in aesthetics, philosophy, literature, mythology and Egyptian art. His early works, La Painture, la Musique, la Poesie(1880-1881), Le Crise(1881), and En ecoutant Schuman(1883) reveal his favorite subjects which were quite prevalent in the symbolist traditions of both Belgium and France. By looking at Khnopff's paintings, I endeavor to situate his Symbolism in the context of the development of Belgian modernity and cultural nationalism. Second, my analysis of Khnopff creates a new overview of Symbolism in Europe, especially in Belgium. In the absence of socio-political integration, the Symbolist painter adds nostalgic meaning to the landscape of Bruges. The scene of Bruges illuminates the social atmosphere in Belgium at that time. Since Belgium became an independent country, it tried to differentiate its own cultural and national identity from France. There was a powerful social movement for Belgium to claim its own identity, language, and culture. Bruges was, for Symbolists, the epitome of Belgium's past glory. This encouraged the formation of Belgian nationalism centering on Brussels, as I demonstrate in Khnopff's Bruges-la-Morte(1892). The relationship between Symbolist artist and writers is crucial for understanding this development. Khnopff, for instance, illustrated or provided frontispieces for many Symbolist writers such as Rodenbach, Peladan, Spencer and Le Roy. Khnopff did not objectify the exact meaning, but rather provided his own subjective interpretation. In this respect, I Lock My Door, inspired by Rossetti, started from the same motif, but Khnopff seeked escape into silence and death while Rossetti searched for Christian salvation. Finally my paper deals with the social context in which Khnopff worked. He was a founding member of Les XX in 1883 and later La Libre Esthethetique he also participated in the exhibition of le Salon de la Rose + Croix. Les XX was not a particular school of art and did not have a uniform manifesto, but its exhibitions focused on decorative arts by encompassing art for all people via common, everyday objects. The Periodical, L'art moderne was founded to support this ideal by Edmond Picard and Maux. Les XX declared art as independent art, detached from all official connections. Khnopff designed the 1890 catalogue cover of Les XX and the 1891 cover. These designs show decorative element of Art Nouveau in an early example of "modern poster." Les XX pursued all art including graphic arts, prints, placard, posters and book illustrations and design. These forms of art were l'art social and this movement was formed by the social atmosphere in Belgium in terms of social reforms and strikes by working class. Khnopff designed the book cover for la Maison du Peuple. The artist, however, did not share the ideal egalitarianism of the working class to a certain degree, while he was working in his villa he designed under the ideal motto, "on n'a pas que," he expressed the nihilistic emotions toward society by the theme of interiority such as solitude, silence, narcissism, introspection, and introversion. In the middle of his Symbolism, we find the "cultural nostalgia" or longing that the artist develops in the I Lock My Door upon Myself. Khnopff's longing toward the lost city of "Bruges" form the crux of his "Social Symbolism."

• The Journal of Art Theory & Practice
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• no.8
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• pp.33-58
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• 2009

This paper examines four genre paintings on the subject of child education by Jean-Baptiste-Sim${\'{e}}$on Chardin(1699-1779). The Governess, The Diligent Mother, Saying Grace, and The Morning Toilette garnered critical attention after they were exhibited in the Salon from 1739 to 1741. After the exhibition, the paintings were made into prints and frequently sold to members of the bourgeois class in Paris. The iconographical details of Chardin's genre paintings have, thus far, been compared to Dutch genre pictures of the seventeenth century. Further, most studies conducted on Chardin's paintings focus on formal analysis rather than the historical and social contexts. Through attempting social-contextual readings of Chardin's educational series, this paper argues that the significance of Chardin's painting series of child education lies in his representation of the ideal French bourgeois family and the standard of early childhood education in the eighteenth-century French Enlightenment period. In each of the four child education paintings, Chardin depicted a mother with children in a domestic space. Even though this theme derives from traditional Dutch genre paintings in the seventeenth century, the visual motifs, the pictorial atmosphere and the painting techniques of Chardin all project the social culture of eighteenth century France. Each painting in the child education series exemplifies respectively the attire of a French gentlemen, the social view on womanhood and the education of girls, newly established table manners, and the dressing up culture in a 'toilette' in eighteenth century France. Distinct from other educational scenes in previous genre paintings, Chardin accentuated the naive and innocent characteristics of a child and exemplified the mother's warmth toward that child in her tender facial expressions and gesturing. These kinds of expressions illustrate the newly structured standard of education in the French Enlightenment period. Whereas medieval people viewed children as immature and useless, people in the eighteenth century began to recognize children for their more positive features. They compared children to a blank piece of paper (tabula rasa), which signified children's innocence, and suggested that children possess neither good nor bad virtues. This positive perspective on children slowly transformed the pedagogical methods. Teaching manuals instructed governesses and mothers to respect each child's personality rather than be strict and harsh to them. Children were also allotted more playtimes, which explains the display of various toys in the backgrounds of Chardin's series of four paintings. Concurrently, the interior, where this exemplary education was executed, alludes to the virtue of the bourgeois's moderate and thrifty daily life in eighteenth century France. While other contemporary painters preferred to depict the extravagant living space of a French bourgeoisie, Chardin portrayed a rather modest and cozy home interior. In contrast to the highly decorated living space of aristocrats, he presented the realistic, humble domestic space of a bourgeois, filled with modern household objects. In addition, the mother is exceptionally clad in working clothes instead of fashionable dresses of the moment. Fit to take care of household affairs and children, the mother represents the ideal virtues of a bourgeois family. It can be concluded that the four genre paintings of child education by Chardin articulate the new standards of juvenile education in eighteenth century France as well as the highly recognized social virtues between French bourgeois families. Thus, Chardin's series of child education would have functioned as a demonstration of the ideal living standards of the bourgeois class and their emphasis on early childhood education in the French Enlightenment period.