• 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.

• Journal of the Korean Ceramic Society
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• v.29 no.5
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• pp.391-395
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• 1992

In order to improve the compactness and uniformity in ceramic green body, we have developed dynamic CIP(Cold Isostatic Pressing) as a new forming method in which the CIP and the vibratory pressing were combined. In dynamic CIP, bulk density on alumina compacts was linearly increased with higher │Pmax-Pbias│and maximum pressure of dynamic-CIP was decreased over one-third of that of conventional CIP to obtain the same bulk density.

• Proceedings of the Korean Biophysical Society Conference
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• 1999.06a
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• pp.60-60
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• 1999

The subfornical organ (SFO) represents neuroglial circumventricular organ structures bordering the anterior third cerebral ventricle. Owing to the absence of the blood-brain barrier, the cellular elements of subfornical organ can be reached by circulating messenger molecules transferring afferent information and provide a good coding model of chemical information processing in the body.(omitted)

• Journal of the Korea Academia-Industrial cooperation Society
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• v.20 no.11
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• pp.458-468
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• 2019

This study proposes an efficient weight training strategy to reduce body fat, by identifying the effects of weight training on body fat reductions based on individual characteristics and changes in skinfold thickness. We analyzed the effects of 12-weeks weight training on changes in skinfold thickness and the resulting body fat reductions by considering individual traits of the subject. Our results indicate that individual characteristics have no statistically significant effects on changes in skinfold thickness, but were statistically significant for changes in the amount of body fat. Second, changes in skinfold thickness showed statistically significant effects on changes in body fat. Third, weight training induced changes in skinfold thickness were more significant in men than in women. Men also exhibited greater changes in body fat than women after weight training. Taken together, these findings confirm that changes in skinfold thickness and body fat observed through the 12-week weight training had variations depending on individual characteristics, and changes in skinfold thickness significantly affect the changes in body fat. The weight training program proposed by this study considers incorporation of individual characteristics, rather than accomplishing the same outcome with uniform methods and amounts of training. Furthermore, this program induces changes in skinfold thickness before implementing random efforts for reducing body fat.

• Korean Journal of Veterinary Research
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• v.27 no.2
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• pp.167-183
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• 1987

The anatomical structure of the Skeleton of thoracic limb of thirty-one adult Korean native goats(body weight: 14~17kg) was observed after skeletal preparation, and the osteometry was performed in each bone. The results were as follows; 1. The thoracic limb of the Korean native goat was composed of scapula, humerus, radius, ulna, carpal bones, metacarpal bones, phalanges and sesamoid bones. 2. The scapula was flat and triangular in shape. There were no distinct tuber of spine and acromion in the spine. The subscapular fossa was deep and triangular in shape and the vertebral border was sigmoid form. The coracoid bone was formed as the coracoid process at the medial aspect of the supraglenoid tubercle but the clavicle wa.s not observed. The left and right scapular indexes were 57.92 and 58.31 and the glenoid cavity indexes were 89.23 and 86.82, respectively. 3. The greater tubercle of the humerus was devided into cranial and caudal parts. The third tubercle was observed and the face for the infraspinatus muscle was rectangular form. The left and right humerus indexes were 32.44 and 32.63, the head indexes were 94.13, 96.62 and the trochlear-epidondyle indexes were 67.32 and 65.81, respectively. 4. The radius and ulna were fused entirely except at the broad proximal and narrow distal interosseous spaces. The ulna was longer than the radius, and its reduced body and distal end were fused at the caudomedial surface of the radius. 5. The carpal bones were six in number. There were radial, intermediate, ulnar, accessory, second-third and fourth carpal hones in carpal bones. 6. The metacarpal bone was composed of a large metacarpal bone resulted from the fusion of the third and fourth metacarpal bones, and there was a metacarpal tubercle at the dorsolateral part of the proximal end. There were no vestiges of the second and fifth metacarpal bones. 7. The digits were composed of third and fourth digits and each digit was composed of the proximal, middle and distal phalanges. 8. The sesamoid bones were six in number. There were two at the fetlock joint and one at the coffine joint palmarly in each digit. 9. The ratios of the lengths among the scapula, humerus, antebrachium and metacarpal bone were 1.42 : 1.47 : 1.77 : 1.00 in the left and 1.42 : 1.45 : 1.77 : 1.00 in the right, respectively.

• Journal of Physiology & Pathology in Korean Medicine
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• v.18 no.2
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• pp.474-483
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• 2004

To know the effects between Cd inhalation toxicity and extract of Radix Achyranthis Bidentatae, 4 rat groups were exposed to Cd aerosol in air using whole-body inhalation exposure for 6 hours/day, 5 days/week, and 4 weeks. Cd concentration in air was 1.03㎎/㎥ and mass median diameter(MMD) was 1.69㎛. 3 different dose intraperitoneal injections of extract of Radix Achyranthis Bidentatae to 3 inhalation exposure groups was done for 4 weeks and the results were as follows: The highest body weight gain for 4 weeks and food intake per day were from inhalation exposure group I and the highest lung and liver weight were also from inhalation exposure group I. The highest kidney weight was from inhalation exposure group III. The lowest Cd content in lung was 33.49㎍/g from inhalation exposure group I. The lowest Cd concentration in blood was 9.36㎍/㎗ from inhalation exposure control. Cd concentrations of 40.02㎍/g in liver and 69.18㎍/g in kidney were the lowest from inhalation exposure group I and III, respectively. The lowest Cd concentration in liver was 21.08㎍/g from inhalation exposure group III and The lowest Cd concentration in kidney was 15.78㎍/g from inhalation exposure group II. For weekly Cd concentration in urine, the value of the fourth week from inhalation exposure group III was the highest. For weekly Cd concentration in feces, the value of the first week from inhalation exposure group III was the highest. The highest metallothionein concentration in lung was 53.42 ㎍/g from inhalation exposure group III and the highest metallothionein concentration in liver was 188.18㎍/g from inhalation exposure group III. The highest metallothionein concentration in kidney was 143.92㎍/g from inhalation exposure group III. The highest Hct, Hb, and WBC values were from inhalation exposure group II and the highest RBC value was from inhalation exposure group III.

• Journal of the Korean Society of Costume
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• v.66 no.3
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• pp.75-92
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• 2016

The purpose of this study was to prove how sociocultural perspective of obesity, differences in consumers' perception of body and attitudes of accepting obesity affected individuals' clothing behaviors through cross-cultural studies. The data collected were composed of 612 Korean and US consumers in the 20's and 30's that had experiences in purchasing plus-size products. The results were as follows. First, BMI index was lower in Korean consumers than the US consumers, but Korean consumers received more stress from being overweight compared to the US consumers, and had a more negative attitude about their body. Second, although Korean consumers had lower BMI index and degrees of obesity than US consumers, they were severely stressed by obesity and were found to have a higher level of dissatisfaction with their bodies. Third, Korean consumers responded more sensitively to obesity and had a tendency to display a more negative attitude regarding obesity, and a more passive dependence on clothing. Forth, differences in the body shape were reflected even in wearing evaluation, and US consumers showed a more positive attitude toward evaluations of size suitability and fitness. Fifth, the plus-size market for Korean consumers was still not active, and most products purchased were generic brands obtained from online shopping malls through the Internet. However, in the case of the US, in which the ratio of obese people is high and the plus-size market is growing, consumers were purchasing plus-size brands through various distribution online and offline channels. Sixth, Korean consumers were less satisfied than US consumers with shops, sizes and fitness; however, they were more satisfied with design factors. Finally, it is expected that this study can offer practical implications for marketers and product developers running plus-size market for young obese consumers in their 20 and 30s.

• Journal of the Korean Society of Costume
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• v.62 no.2
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• pp.26-39
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• 2012

This study intends to reconsider pleat, which was undermined as something too simple to express the details for women's costume, by focusing on the aesthetic value of plea in men's costumes in the west before the 20th century. Furthermore, based on the aesthetic value of the pleat, diverse studies on contemporary men's costumes shall help to attempt to set up a basis for the new mode of men's costume. The pleat, a component in the costume since the ancient times, had unique characteristics including functionality, a sense of volume, directing effect that is caused by line repetitions and formativeness that results through elasticity. First, the aesthetics of the pleat before the 20th century shows rhythmic sense through the repetition of the pleat line as shown in the drape type costume, and it also shows a sense of volume as the pleat is moved along the motion of the body. Second, it shows functionality as the expansion of space moves in accordance with the motion of body sets up an internal space of the costume that facilitates body motion. Third, the pleat extends two dimension space into three dimension space using its elasticity. It exaggerates specific parts of the costume while ignoring body shape in order to symbolize status and authority of men. Fourth, it unifies the costume by wrapping the body by using quadrangle cloths with drapers, and expanding the silhouette with the pleat artificially to conceal the physical character and personality of the wearer. The physical character of the wearer disappears into the space made by the pleat. The pleat reveals the voluptuous beauty within.

• Fashion & Textile Research Journal
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• v.15 no.6
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• pp.942-949
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• 2013

This study was performed to investigate purchasing practice and size satisfaction in order to offer basic data to establish marketing strategy and produce ready-made clothes for the male college students according to their body type. For data analysis, crosstabs, factor analysis and one-way ANOVA were used. Results were as follows; first, this study considered the somatotype distribution of male college students. The results showed that inverted triangle -shaped torso was the ideal somatotype in all the classified four actual somatotypes. Second, people in standard body types significantly considered price and appearance such as design, color, pattern and price while people in triangle-shaped torso placed the most importance in the practicality and wearability. People with inverted triangle-shaped torso was found to significantly consider the perceptual quality such as brand, a/s and fashion. Third, this study considered the wearing satisfaction of ready-to-wear. The respondents placed more emphasis on the practicality and wearability as their actual somatotypes were not ideal for them. Fourth, the examination of the difference in size fitness depending on clothing by somatotype when wearing ready-to-wear showed that breast on the top was small when wearing it in the remaining somatotypes except for standard somatotype. The upper body showed better size fitness in triangle-shaped torso. There is a difference in fitness according to somatotypes classified by the form factors even though they have the same body mass index.

• Journal of the Korean Society of Clothing and Textiles
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• v.39 no.3
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• pp.353-368
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• 2015

Walter Van Beirendonck expresses a fairy tale world of perverted sexual desire of sadism and masochism, violence, and aggressiveness that breaks from a transient one-time concept as is an essential element of fashion. This study classifies the aesthetic characteristic shown on the design of Walter Van Beirendonck and analyzes the intent of his symbolism and meaning. The attempt has a meaning in exploring a new directionality of fashion by conveying a critical message to this end, contemporary fashion breaks down boundaries with artistic genre and connects a problematic consciousness that exists in life with fashion. The results of study on the aesthetic characteristics of Walter Van Beirendonck are as follows. First, Beirendonck emphasized an interpersonal image about body by giving a question through the deconstruction of image on a perfect body into race, age, and body based on body modification. Second, fetishism appeared as a consciousness that human identity and character can be changed by connecting a fetish element of sexual identity, and sadism and masochism with fashion's imagination. Third, infantilism as an amusement expression of the form metaphorically satirized life of modern people. Fourth, makeup shown on performance or festival of an African tribe was used in the way of mixture or reuse for ethnography to obtain inspiration from ethnography. Fifth, pop art combined a popular culture code as amusement through mass production and mass media. Aesthetics of Beirendonck do not have norm and are bold in using form, color, pattern, print, and styling because Beirendonck reinterpreted critical attitudes about essential problems that human life entails into a motif of his symbolic meaning in amusement. In regards to his design aesthetics, Beirendonck expanded fashion to the scope of Gesamtkunstwerk in a consistent and continued theme combined with philosophical creativity and differentiated from other fashion designers.