• 한국주거학회논문집
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• 제24권6호
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• pp.199-208
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• 2013

Developing a modern Han-style design and providing support for the commercialization development model in recent years has been propelled by the Han-style Support Strategies of the central government in conjunction with Han-style revitalization related projects that reflect the efforts of local governments. Han-style revitalization, the rekindling and revaluing of human behavior and interest in local governments following the social and cultural changes of the past decades, has emerged as an increasingly traditional area of concern in Han-style design. The purpose of the study was to provide a method which clarifies the design rules of the Han-style bathroom based on an evaluation of sensibilities and a rough set theory, and to give the components meaning and to systematize the method. Essentially, the Han-style bathroom design evaluation is a complex multi-criteria decision making process that seeks to improve the effectiveness and objectively of the Han-style bathroom design. Han-style bathroom design can be displayed in a graphical representation in response to input from the evaluation concerning sensibilities. Because the graphical representation is composed of 3D data, it is possible to display the Han-style bathroom design form in any desired perspective and also to perform shading and other operations. With the proposed method, it is possible to obtain a combination of several contributory components which can be referred to as Reducts, Covering Index and Column Score. Han-Style/Non Han-Style Bathroom Designs were identified by the combination of several components.

• 복식
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• 제57권9호
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• pp.161-176
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• 2007

The objectives of this study are to select and analyze unpublished wedding dresses in the 19th century, to investigate the design characteristics and making techniques of Victorian wedding dresses, and to examine the correlation between the wedding dress style and the fashion style in those days and the influence of the wedding dress style on contemporary's styles. The materials of this study were 9 wedding dresses owned by the Historical Costume and Textile Collection at the University of Connecticut in USA. The dresses were made during the mid and late Victorian Age. As for silhouette, the bustle style was popular in the 1870s and 1880s, and the hourglass style in the 1890s, and different from contemporary dresses there were no big differences in structural pattern and details between ordinary dresses and wedding dresses. In addition, colored wedding dresses were used until the mid and late Victorian Age, but since the wedding ceremony of Queen Victoria in 1840, white wedding dress was widely accepted and settled as the tradition of today's wedding dresses. While the Western dress style had been basically a one piece style, there appeared simple two piece designs in which the upper garment was separated from the lower one, from the mid Victorian Age. This is considered the reflection of those days' pragmatic social trend in dress style. It seems around 1875 when asymmetric design was first introduced in the Western dress style, which had been mostly symmetric. The asymmetric style that pursued atypical beauty, though not common during the late Victorian Age, shows a change in the typical Western dress style. With regard to dress making techniques, sewing machines were distributed widely during the early Victorian Age but they were not used in all parts of dress. Most of details and trimming works were done manually and some parts were attached and detached by hand sewing. In addition, not like today, there were no generalized rules of making such as the form of closings and composition.

• 한국의류학회지
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• 제26권9호
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• pp.1308-1319
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• 2002

The purpose of this is to analyze the aesthetics characteristics of our modern sports fashion, and thereby, discuss them in the light of the overall mentality or the 20th century, and thus, present the conditions or sports fashion design meeting modem people's divers aesthetics values and desired. Modern sports fashion sues can be categorized into futurist sports style, erotic sports style and American sheet sports style. And the 20th century mentality characterized by changes of lifestyle, identity and aspiration has influenced the aesthetic features of such sports fashion sues, which can be summed up as follows; first, the futurist sports style applies the functional items and details of active sportswear to design, while heralding a positive and hopeful message of technology and future by using the material of hi-tech functions and senses. This sports style was affected much by shift from social status, attraction and wealth to demonstration of state-of-the-art science, pursuit of functionality in terms of shapes and materials, convenience through See combinations of sportswear items or design elements. Second, the erotic sports style based on minimalism attempted to express the erotic body beauty indirectly by exposing some parts of body or using the material pressed against the body. This sports style was closely related with the changes of sexual identity such as neutral sexualism, bi-sexualism and homo-sexualism. Lastly, the American street sports style was born from black Americarns' sports and dances. This spors style pursues “youth” beyond TPO concept As mass media and commercial sports developed, the young generation copied sports stars' uniforms or fashions to share honor, wealth and youth with them. In sort, the American sheet sports style was affected much by the so-called “heroism”. Such a changed object of aspiration influenced the aesthetic characteristics of American shot sports style directly.

• 한국심리학회지 : 문화 및 사회문제
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• 제29권2호
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• pp.199-221
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• 2023

본 연구에서는 한국 성인의 가치와 의사소통 방식 간의 관계에서 연령과 성별의 조절효과를 살펴보았다. 이를 위해 전국의 성인 남녀 500명에게 문화보편적 가치(변화에 대한 개방성, 자기고양, 보수주의, 자기초월), 문화특수적 가치(집단주의, 규범에 대한 동조, 정서적 자기통제, 성취를 통한 가족의 인정, 겸손), 고-맥락 의사소통 방식, 그리고 저-맥락 의사소통 방식을 측정하는 설문에 응답하도록 하였다. 본 연구의 결과는 다음과 같다. 첫째, 의사소통 방식에 영향을 미치는 요인을 탐색해 본 결과, 자기고양, 정서적 자기통제, 자기초월은 고-맥락 의사소통 방식을 유의하게 예측하였으며, 변화에 대한 개방성, 자기고양, 규범에 대한 동조, 정서적 자기통제, 성별은 저-맥락 의사소통 방식을 유의하게 예측하였다. 둘째, 자기고양과 고-맥락 의사소통 방식 간의 관계를 연령이 조절하였다. 자기고양이 높고 연령이 낮은 경우 고-맥락 의사소통 방식이 현저하게 높아졌다. 셋째, 규범에 대한 동조와 고-맥락 의사소통 방식 간의 관계를 연령과 성별이 조절하였다. 규범에 대한 동조가 높고 연령이 낮은 남성의 경우 고-맥락 의사소통 방식이 현저하게 높아졌다. 넷째, 집단주의와 저-맥락 의사소통 방식 간의 관계를 성별이 조절하였다. 집단주의가 높아질수록 남성은 저-맥락 의사소통 방식이 높아지는 경향이 있었던 반면, 여성은 저-맥락 의사소통 방식이 낮아지는 경향이 있었다. 다섯째, 겸손과 저-맥락 의사소통 방식 간의 관계를 성별이 조절하였다. 겸손이 높은 여성의 경우 저-맥락 의사소통 방식이 현저하게 낮아졌다. 본 연구 결과의 함의 및 제한점을 논의하였다.

• 한국주거학회:학술대회논문집
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• 한국주거학회 2011년도 춘계학술발표대회 논문집
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• pp.220-225
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• 2011

The purpose of this study was to identify the lifestyle of babyboomer, the difference of recognition about silver town and preferable determinants according to lifestyle. By the Social Survey Research with questionnaire, data from 108 people of 46 years old ~ 65 years old who inhabited in Seoul City area were collected during October, 2010. Data were analyzed by the SPSS program Win 18.0, and frequency, percentage, t-test, ANOVA, factor analysis, regression were employed. The major findings were as follows. First, by the factors analysis on lifestyle, factors were named "interest about external", "inner-oriented", "pursuit of health", "prepare for later life", "social aspects". Second, by the frequency analysis on recognition about silver town, 97.2% of total respondents replied "at least heard about silver town", and 64.8% of total respondents recognized the necessity of silver town. While, intention to live in silver town was low (by 38.0% of total respondents). Third, by the regression analysis on preference tendency about silver town according to life style, factor of 'inner-oriented' in the decision about residential area and total household number, factor of 'pursuit of health' in the decision about monthly rent, factor of 'social aspects' in the decision about cost solution method were influential factors. In conclusion, to supply the house which had the diversity of baby bommer's life style, government and corporation's efforts to increase intention to live in silver town and to change the recognition about silver town are needed.

• 한국실내디자인학회논문집
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• 제9호
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• pp.77-85
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• 1996

The purpose of this study is to examine losely how the Rococo style, which reached its summit in the history of French furniture, was realized in its social background and mode of life. Based ion this examination , this study will explore desirable directions for developing our domestic furniture design. For this purpose , existing literature will be referred to and analyzed to arrange into a new system. Rococo furniture style was the product of joyous and aristocratic living . This was based upon the historical development of French interior design, established by the national mode of Versailles Palace. Hereafter, royal style came into fashion paralleled with the luxuries of the court. Pursuit of new , interesting or beyond-expectation fashions encouraged the creation of new and imaginative forms and designs . The elegnant taste of customers, the new techniques of furniture manufacturing , and the unique sales strategies of merchants were social phenomena which contributed to the development of Rococo furniture. Furthermore , Louis XV`s private and personal life led to society`s pursut of comfortable and convenient living . Under these circumstances, small and cozy rooms for various uses came into the interior. Accordingly, the scales of furniture became smaller and any types of furniture with their own uses and feminine nature were manufactured , especially by the bnistes. Rococo furniture with fmine beanty and refined line, beatifil proportion and elegant sculpture, and solidity and clarity in general , is not only furniture for the use of man, but also furniture in harmony with man. As we see the stages of development and the characteristics of Rococo furniture, development of Korean furniture is a common task which can be accomplished through the participation of the designer, manufacturer, seller and consumer. Based on this co-operation , the furniture industry must make an improvement in furmture design, lestablish a permanent store in which new works are displayed. publicize activities and sales, promote exhibitions and seminars, and encourage technical development through the government and other interested organizations.

• 한국연극학
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• 제48호
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• pp.385-419
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• 2012

Son Jinchaek got into his directing career since 1976 when he founded the theatre group Minye with Huhgyu and others. His experience in Minye was the turnaround of his life; Huhgyu was a teacher in his artist's life whereas Brecht was a teacher for his ideology to make 'Korean Theatre'. From these two teachers, he learned how and why Korean Theatre should be made. Since then, Korean theatre was his calling for 40 years of his directing career. As he established Michoo in 1986, it served a turning point in his art. His focus was on intrinsic attributes of Korean Theatre with Madang Jungshin. With Madang Jungshin, he tried to get over the former generation's fixation on external materials of Korean traditional theatre and folk culture to make Korean Theatre. Rather, he believed Korean Theatre could be realized when it grafted Korean social reality onto the stage, while the form was subsequent. He advocated Korean Theatre should mirror present social reality and circulate social energy. Also, he did not give up aesthetics. On the contrary, his aesthetic style was conspicuously evident in his productions. In spite of his life long career with noteworthy works, the critical discourses are strikingly scarce especially when compared with other senior and peer directors such as Hugh Gyu, Ahn Minsoo, Oh Taesok, and Lee Yoontaek. During his career he has crossed into various genres from Changeuk, Madangnori, and to theatres, which were too versatile to thread them into a discourse and caused a lack of theoretical greeting. Madangnori has anchored its artistic structure on its polished aesthetics which were acclaimed by the general audience for 30 years. For theatre, he concentrated on one production per year to grasp its own style. Theatre works also had revealed his own style of being opened and of being emptied which was certainly different from Madangnori, but had same aesthetic principle within it. This paper attempts to recompose his stylistic features with 'Madang aesthetics' which were based on open space, open acting style, and graphic ensemble. This paper tries to demonstrate how his 'Madang aesthetics' has refined his productions in scenography, acting style, and in more like metaphoric and metonymic symbolic expression of the graphic ensemble. To do this, two productions were explored: eLee Chunpoongjeun and Yulha Ilgyee Manbo. Madangnori was sorely explored by Son Jinchaek with his artistic colleagues Yoon Munshik, Kim Jongyeup, Kim Sungnyu, music designer Park Buhmhoon, and choreographer Guk Sooho. Though it has been ignored for its popular appeal by the doctrinaire theoretical opinions, it started to pull academic attention recently. His theatres are also getting sharp with his 'Madang aesthetics' as well as minimalistic expression in scenography, acting style, and graphic ensemble. Madang Jungshin is the soul and Madang aesthetics is the body in his artistic works. The Madang Jungshin animates the Madang aesthetics, so they become alive in his theatre.

• 복식
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• 제30권
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• pp.59-68
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• 1996

As a society is becoming more and more complicated people living in modern times are experiencing more stresses for various reasons. Some past research results proved the role of clothing in reducing the stresses. The purpose of this study is to investigate how the preference of the mini-style which is recently most fashionable styles is related to the psychological factors such as stress and body satisfaction. Measure Instrument were Nolmes and Masuda(1973)'s SRRS(Social Readjustment Rating Scal) Secord and Jourard(1953)' Body Cathexis Scale and mini-style preference scale by author Survey questionnaires were distributed to two hundred seventy adult women living in Seoul area during may 25 1992. through June 8. 1992. The age range of the subjects was from 30 to 49 The final number of subjects in-cluded in the statistical analysis was 244. The result and conclusions are as follows: 1. Significant difference was existed in mini-style preference between high and low body satisfaction groups. Mini-style was pre-ferred by high body satisfaction group than low body satisfaction group. 2, Significant difference was existed in mini-style preference between high and low stress groups. Mini-style was preferred by low stress group than high stress group. 3. Regarding demographic characteristics unmarried 2 year college graduates with low family income in their early 30's pref. mini-style. 4. There was a marginal interaction effect of demographic characteristics on the relation-ship between mini-style preference and body satisfaction. The higher preference and body satisfaction. The higher preference for mini-style was found for the higher body satis-faction group mostly with the age range of 35 to 39 married 4 year college graduates as drop-puts and mid less income group. 5. There was a marginal interaction effect of demographic variables on the relatonship be-tween mini style preference and stress level The higher preference for mini-style was re-lated to the low stress level group mostly with age group of 35 to 44 high school graduates or lower and highest income group regardless of their marital status. In sum mini-style seems to be preferred by women who feel relatively less stress and are more satisfied with their bodies thus psycho-logically stable.

• 시큐리티연구
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• 제6호
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• pp.255-272
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• 2003

The purpose of this research is to find relationships between safeguards' personality traits and stress coping behaviors. The findings then could provide data to adapt safeguards to their duties. For that, personality traits such as sociability, stability and stress coping behaviors and the effects were investigated. In addition, cognitive aspects which were known to influence stress coping behaviors were appraised. The findings of this research are as follows, First, regarding personality traits and stress coping behaviors, the unstable and unsocial group used the emotion-focused coping style more than the stable and social group. The two groups didn't show any significant differences in the problem-focused coping style. The A-type group used both the problem-focused style and the emotion-focused style more than the B-type group. The common characteristic of the unstable, the unsociable and the A-type groups was the heavy use of avoidance behaviors of the emotion-focused coping style. Second, In the correlation between the personal traits and the stress coping effects regarding adaptability, the stability influenced stress coping effects. Third, regarding the personality traits, the coping styles and the coping effects, A-type group showed high correlation with the sociability but not with the stability. The problem-focused coping style showed high correlation with the emotion-focused style. Fourth, the cognitive appraisal on the stress causes influenced the stress coping styles but not the stress coping effects. Fifth, the cognitive appraisal on the same stress causes didn't show any significant differences among the personality traits.

• 패션비즈니스
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• 제14권2호
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• pp.151-165
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• 2010

The goal of this dissertation is to analyze the change of dress style based upon the 'Difference' theory developed by Gilles Deleuze and Michel Foucault. The methodology for this study consists of literary research, encompassing philosophy, aesthetics, dress and materials derived from internet and case study based upon the analysis of Deleuze and Foucault in the paintings by Bacon, $\acute{a}$, and Magritte. In order to develop the theoretical analysis tool for this study, the period and continuous theories of style change are examined in terms of 'identity' and 'resemblance.' A new framework for analyzing the changes of dress style based upon the 'Difference' theory derived from Deleuze's and Foucault's theories and from their interpretations of paintings was developed. This newly developed theory not only defines that dress style changes under the influence of various conditions such as designer's will, ideology, social structure and technology, but also interprets it as a newly-created style that has nothing to do with the original one. The characteristics that represent 'difference' in change of dress style are deformation, hybrid, absence and resemblance. They are derived from the Deleuze's and Foucault's interpretations of 'difference' represented in the paintings by Bacon, Vel$\acute{a}$zquez and Magritte.