• The Research Journal of the Costume Culture
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• v.15 no.3 s.68
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• pp.431-445
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• 2007

The purpose of this study was to analyze and theorize the characteristics of femme fatale in fashion illustration since 1980. The method of this study was to analyze the documentaries for theoretical studies about femme fatale and the visual characteristics in fashion illustration works since 1980. The results of this study were as follows: Femme fatale expressed in the general realm of art was icon of fatal and seductive eroticism in late 19th century. She is composed of diverse images like mythology, exoticism, fear and sensuality. The characteristics of her image in fashion illustration were expressed into de-body image by union of animal and female body, or machine and female body, duplicity of death and sexuality, sexual decadence or abnormality and powerful masculine taste. First, de-body image by union of animal and female body, or machine and female body was expressed in transformed mythical image or bizarre and demonic image, grotesque image linked by picture of female body and painting of animal image, and cyborg image linked by machine and realistic female body by digital media. Second, duplicity of death and sexuality was expressed in juxtaposition by sexual pose, body and something metaphorical and symbolic depiction and de-constructive depiction of death. Third, sexual decadence or abnormality was expressed in fetishistic style, obscene depiction of cheap and hedonistic sexuality, masochistic depiction like antisocial and diseased sex appeal. Forth, powerful masculine taste was expressed in man's face, body, pose, masculine fashion, man's role related to crime and threatening weapon, etc. As mentioned above, femme fatale in fashion illustration was expressed in diverse images by fashion illustrator's point of view. Although she was originated by men's fantastic vision, she brings a catharsis to human being. And she is also recognized as new paradigm and positive cultural sign in our times.

• Journal of the Korean Society of Costume
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• v.57 no.5 s.114
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• pp.33-44
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• 2007

The purpose of this study is to examine the roles and costume of Sodong as shown in the illustration of Choseon Delegation to Japan. Results of the study can be described as below. First, as shown in the illustration, Sodong played roles as Tongin and dancer. As Tongin, Sodong provided services or made errands for his seniors. In the other role, while, Sodong danced to comfort his seniors and show dances of Choseon to Japanese people. Second, Sodong wore Kwaecha over Sochangeui throughout his march with the delegation as Tongin. This is probably because the two clothes made him feel convenient and easily active. In both 1700s and 1800s, meanwhile, Sodong also wore Jikryeong and Cheolik. Third, Sodong wore Kwaecha over Sochangeui, or Danryeong and Nansam all the time when he navigated together with the delegation. When passing through Tsusima into the Japanese mainland, which meant starting international exchanges between Choseon and Japan, Sodong sticked to formality to the utmost by wearing Danryeong and Nansam. Fourth, Sodong wore Kwaecha over Sochangeui when he performed as dancer. The two clothes were also worn by Mudong during outdoor banquets in Choseon at that time. In addition, it is thought that Sodong wore Jikryeong, Danryeong and Nansam like when he marched or navigated together with Choseon Delegation.

• Archives of design research
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• v.15 no.4
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• pp.111-120
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• 2002

Folk paintings influence the lifestyle of the general public, and is visible practical communication presenting emotion, feelings and phenomenon through various functions and aesthetic molding specificity. Illustration as a medium for conveying information in modern society is time communication forming time circumstance based on a creative image, becoming an importance in the means of molding an active information society. Folk paintings and illustration express the subject of various kinds of stories of surroundings of daily lives ironically, humorously and symbolically, convey it in an accurate and detailed way in the various use of color and shape representation, and have a similar specificity as the general public's art influencing the society, culture, and environment, the general public's emotion and feelings of that time. The current research is to suggest the possibility and direction of Korean image representation in illustration by analyzing folk painting and illustration characters based on social, cultural function and role and molding specificity.

• The Journal of the Korea Contents Association
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• v.10 no.7
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• pp.233-243
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• 2010

Thanks to the rapid advance of modern technology in industrial society, economic and material abundances have not only caused a variety of cultural industry to develop but also brought about the development of beauty treatment industry. Like this, the industry has continually expanded into the public rapidly by forming a new beauty trend along with the growth of mass media such as T.V, advertisement, vogue magazine, and film. And make-up is also broadening its artistic areas by utilizing various expression skills and consistently changing with beauty trends, which has influences on Make-up Illustration. As a result, it has been recognized as a new conception of 'art' expanding in interpretation of communicating with the masses under condition of modern culture and stressed in its part more and more. It is expected that Make-up Illustration playing an important role in the exchange of fashion trend information between beauty treatment industry and people will be studied in different-image-expression ways to raise its artistic value and be a useful material for research and creation activities in the foreseeable future by Make-up Illustration made of computer graphics.

• Journal of the Korean Society of Costume
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• v.54 no.3
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• pp.13-25
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• 2004

The purpose of this study was to show the analysis system and the expression which is applied to fashion illustration by three major components in visual sign, metaphor and metonymy. The results of this study were as follows : Firstly, metaphor in qualisign of syntactics was revealed as a color such as realistic description, a pattern such as clothing of figure. etc. Metonymy was revealed as a social and cultural background color, a concept pattern. etc. In sinsign of syntactics. metaphor was revealed as a human body, non-human body and metamorphosis human body and metonymy as a human body and non-human body. In legisign of syntactics, the metaphor by perspective was used for a fantasy of space. and the metonymy was revealed as a color perspective representation, etc. The degree of change of texture was revealed as a metaphor and metonymy of gradation. And conventional custom sign was almost revealed in metaphor. Secondly, semantics showed about fashion image as juxtaposition of two similar objects in metaphor and as real description and simplification in metonymy Alternative fashion image in semantics was presented as a object related to fashion image. Conventional symbolic sign was presented as a role to clarify a fashion message in metaphor. Thirdly, the metaphorical and metonymical expression in pragmatics were usually presented as drawing and painting.

• Communications for Statistical Applications and Methods
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• v.13 no.2
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• pp.267-272
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• 2006

A procedure for selecting regressors in the linear regression model is suggested using local influence approach. Under an appropriate perturbation scheme, the effect of perturbation of regressors on the profile log-likelihood displacement is assessed for variable selection. A numerical example is provided for illustration.

• Journal of Korean Elementary Science Education
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• v.42 no.1
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• pp.93-108
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• 2023

This study aims to analyze the types and roles of visualization materials presented in the third- and fourth-grade national and authorized science textbooks based on the 2015 revised curriculum. Using the type and role framework, 17 chapters were analyzed. The analysis revealed, first, that the national and authorized textbooks had different total amounts of visualization data and total amounts of simple illustrations. However, no difference in the amounts of simple illustrations and infographics used in the units was evident. The units that used the most infographics were Life, Earth and Universe, in that order, in both the national and the authorized textbooks. Second, simple illustrations were observed to have role differences according to the type of visualization data, but infographics had no such differences. Specifically, the motivational role in a simple illustration increased in all the authorized textbooks. Third, looking at the frequencies of the infographic subtypes, the Process, Structure, Comparative Analysis, and Timeline types accounted for 86% of the total, but the proportions of those subtypes varied in the national and authorized textbooks. Based on the results of this study, I suggest that to achieve differentiation in the types or roles of visualization materials, changes in the types, processes, and skills of inquiry must first occur, as must changes in the structure of chapters or lessons. Continuous research and discussion on the standards and methods for authorized textbooks are also needed.

• Journal of Korean Elementary Science Education
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• v.30 no.4
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• pp.553-561
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• 2011

In this study, the illustrations in 16 elementary science textbooks developed under the 2007 Revised National Curriculum were analyzed in the aspect of gender-role stereotyping, and the results were compared with those of the 7th National Curriculum. The frequencies of male and female who appeared on textbook illustrations were counted, and the types of activities and the characters of them were analyzed. Most pupils were found to be active, and female pupils appearing in the textbooks were more than male pupils. In all types of activities for pupils, the difference between male and female was decreased compared with that of the 7th National Curriculum. Male and female pupils were illustrated in learning activities with almost equal frequencies, but male pupils were still more frequently represented than female pupils in other activities. Gender difference in adults was increased and the difference was statistically significant. Gender difference in houseworks was not large, but the difference in outdoor activities was statistically significant. Especially, the jobs of adults were illustrated as male-centered, and scientists appearing in the textbook illustrations were also mostly male.

• Journal of Korean Elementary Science Education
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• v.35 no.4
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• pp.454-468
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• 2016

In this study, the gender-role stereotyping of the texts and the illustrations in the elementary science textbooks developed under the 2009 Revised National Curriculum was analyzed, and the results were compared with those of the 2007 Revised National Curriculum. In the texts, there were significant differences between boys and girls in the frequencies of texts, two types of learning activities such as scientific inquiry and emotional expression, and housekeeping activity. Women outnumbered men in housekeeping activity, but they were much less than men to perform outdoor and professional activities. In the illustrations, there were not significant differences by gender in pupils, and these results are desirable in terms of achieving balance between boys and girls. However, the textbooks were found to favor the illustrations of men especially in outdoor and professional activities. Women also performed more in housekeeping activity. Compared with the adult results of previous curriculum, these results were not improved at all.

• The Research Journal of the Costume Culture
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• v.19 no.2
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• pp.430-448
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• 2011

This study analyzes the stereotyped femininity with a focus on body codes, which has been continuously expressed in fashion illustrations from the late $19^{th}$ century to the year 2010, and examines the changes in its meaning. Stereotyped femininity was reorganized by the changes in female sex role effected by social changes, as well as by the body discourse and feminism in the late $20^{th}$ century, These socio-cultural backgrounds led to the change in the meaning of stereotyped women expressed in fashion illustrations. The stereotyped women in fashion illustrations are characterized by gender-oriented body, and the typical image of women was reproduced with the marks of poses and looks that feature passiveness and subordination. Then, the gender-oriented body since 1990's shifted to active meaning that positively revealed sexual desire. The space positioned by women is also the symbol of gender. In line with changes over time, the backgrounds in fashion illustrations have changed from private space such as home and nature to public space such as city, which reflects diversification and expansion of space for women. This study has identified the changes in meaning, based on the analysis of the characteristics of stereotyped women expressed in fashion illustrations. Above all, women who were objectified as a subject by dominant discourse have established the concept of active body as an entity. In addition, the symbol of typical femininity is "slim" and "beauty", which reflects the change from the emphasis on childbirth-related femininity to self-control and conquer. On the other hand, the typical features expressed through body have reproduced dichotomous structure, but the emergence of body and background deviated from gender has reorganized the symbolic order of gender.