• Journal of the Institute of Convergence Signal Processing
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• v.16 no.2
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• pp.50-55
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• 2015

The noise of MRI shooting is 100dB loud and has an intensive psychological and physiological influences on the human body. ECG signals were measured by experimental methods, while wearing earplugs for 15 minutes in the stable state. Then the ECG signals were measured for 30 minutes while listening to about 100dB of sound in a MRI equipment. In this study, the heart rate variability of men and women was analyzed according to the MRI noise stress level through the frequency analysis. As the MRI noise level is about 100dB, HRV analysis resulted in an imbalance between the sympathetic and parasympathetic. During the period from the resting state up to 10 minutes, the maximum stress state was shown. This study will encourage MRI workers to take interests in hearing protection for the patient and to make objective indicators about MRI noises.

• Journal of the Korean Society of Costume
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• v.63 no.8
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• pp.76-89
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• 2013

This study is about 'asymmetry triangle-Mu' Jeoksam and Hansam in the early days of Joseon Dynasty. A study was done regarding the records of Jeoksam and Hansam in literature, the present state of the excavated 'asymmetry triangle-Mu' clothing Jeoksam and Hansam, and finally a deduction of the reason for the appearance of the 'asymmetry triangle-Mu' clothing Jeoksam and Hansam. The width of front length of 'asymmetry triangle-Mu' clothing in the early days of Joseon Dynasty is 29.5~35 cm and the width of one breath of the sleeve is 29.5~35 cm. The width of 'asymmetry triangle-Mu' is 9.5~16 cm and it is relatively big. Comparing to the width of one breath of the sleeve, it is almost 1:2.2~3.6 ratio. Therefore, when the sleeve was cut, the Mu was linked in order to save fabric the gusset of sleeve had to be folded and turned, and finally it became asymmetric. As a result of the above consideration, since the width of upper garments of $16{\sim}17^{th}$ century was big, the wearing of short tops of Jeoksam or Hansam without side vent as a small 'triangle-Mu' was uncomfortable. Because of this reason, the size had no option but to become bigger. So, during the $16^{th}$ and $17^{th}$ century, a period where mass production of fabric was difficult, the 'asymmetry triangle-Mu' type was considered to be a reasonable cutting method. After the middle of $17^{th}$ century, it can be estimated that 'asymmetry triangle-Mu' clothing disappeared according to the narrow aspect of clothing type.

• Physical Therapy Rehabilitation Science
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• v.6 no.4
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• pp.159-163
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• 2017

Objective: Persons with stroke have a tendency to exhibit asymmetric weight-bearing during sit-to-stand because due to the attempt to support themselves with the non-paretic foot. However, there are few devices that can assist with sit-to-stand (STS) performance. This study was designed to investigate the use of the elastic band with rings (EBR) in improving weight-bearing effectively in persons with stroke during STS training. Design: Cross-sectional study. Methods: Thirteen stroke survivors participated in the study. An EBR was applied onto the patient during STS activity. The foot pressure was measured before and after wearing the EBR, with a 5-minute rest period between measurements. Subjects were asked to perform each test twice with and without the EBR. Bilateral feet pressures were measured with standing posture being divided into the forward and backward aspects. The foot contact pressure during STS activity was measured with the CONFORMat System. Results: With EBR, the forward pressure of the affected foot significantly increased while the less-affected forward foot pressure significantly decreased (p=0.015 and p=0.023, respectively). The backward foot pressure did not differ significantly in the two limbs, and there was no difference with and without the EBR in terms of the total pressure of the affected foot. There was a significant difference with and without the EBR in the total pressure of the less-affected foot (p<0.05). Conclusions: STS training with the EBR has been shown to improve weight-bearing of both feet while decreasing the total pressure of the less-affected foot in stroke survivors. Therefore, we suggest that the EBR is a useful tool for STS training for persons with stroke in the clinic.

• Journal of the Korean Society of Costume
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• v.65 no.6
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• pp.79-98
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• 2015

This article studied women's headdresses that appeared in the paintings of Joseon Dynasty. This examined the shapes of women's headdresses painted in genre paintings, record paintings and nectar ritual paintings from Joseon Dynasty and compared them to literatures and relics in order to analyze their types and characteristics. Headdress can be categorized into three types: (1) square cloth worn on the top of the head; (2) a kind of small cap; (3) Cloth that completely covers the head. The first type of headdress resembles the shape of Garima. In the early period of Joseon Dynasty, it was worn not only by Gisaeng, but also by both upper and lower class women. The second type of headdress includes a cap made by connecting several cloths, round cap, and cone-shaped cap. These two types are worn on top of the head. However, sometimes these were worn between the head and the chignon to fix the chignon. Also, these were used as hair accessories for decorative purposes. In particular, old women wore these headdresses and braided their white hair around them to fix the chignon. This way, the headdress not only kept the head warm, but also hid the old women's scanty hair. Headdress was usually made of black fabric and it was a simple hair accessory that replaced the wig. The third type of headdress was widely worn among lower class women. The cloth completely covered the head so that the hair would not fall when working. It also provided protection from cold and hot weather. According to paintings, there were many ways of wearing the cloth around the head.

• Journal of the Korean Society of Costume
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• v.53 no.2
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• pp.101-118
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• 2003

This paper describes pop stars' fashion style by the changes of pop music from the 1950's of the formative Period of a rock-n-roll to the 1990's. The author could examine the features of pop music as follows : the 1950's rock-n-roll, the 1960's rock and Psychedelic rock. the 1970's punk rock, the 1980's new wave and the 1990's reggae·hip-hop. Based on the examination, the author could do sampling of the fashion style, on which current pop music had influence, by rock style, new wave style, and reggae hip-hop style. The rock style makes appearance again as a new style when it is recently accepted to be a fashion. The 1960's hippie, which contains long-cherished desire of antiwar and peace after September 11, 2001 Attack on America and the Afghan War. reappeared as luxurious hippie, and the hybrid punk has been made because barriers between cultures have been collapsed to mix items and combine contradicting components at fashion field. The new wave style destroys sex difference of clothes. and men's clothes style has introduced women's dress style, so that androgynous style, which has handsome boy image with womanlike hair style and makeup, and the lingerie style without distinction of underwear and outer garment has made appearance through new cloth wearing ways and overexposure. The reggae and hip-hop style makes appearance to overcome social strata, groups, ages, regions and gender, etc and become one of the 21s1 century culture codes. In conclusion, pop music have played very important roles until expansion and popularity of new fashion style, and has been quickly expanded by mass media development. When the pop music fashion styles are introduced to high fashion, fashion styles have become more polished and high-qualify to expand them at main fashion world again.

• Journal of the Korean Society of Costume
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• v.56 no.7 s.107
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• pp.1-17
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• 2006

This study purposed to examine Korean people's white clothes custom historically and to explain the aesthetic consciousness latent in the custom. Korean people preferred white clothes, even up to foreigners called them White-clad folk. Not only as in old historical literatures, but also in Soo-suh, Shin-Dang-suh including Sam-Kuk-Ji in China, white clothes were a real symbol to Korean people, ranging chronically far back to the age of ancient tribal countries, Sam-Kuk Period through Koryo Dynasty and even to modern age near the end of Chosun Dynasty, wearing with pleasure regardless of age, sex or social position. Even King himself in Koryo Dynasty is said to have worn white clothes when he was out of official hours. During the Koryo and Chosun Dynasty, white clothes were sometimes prohibited for various reasons including conflicts with the theories of yin-yang and the five elements but such regulations were not effective. To Korean people, white clothes were ordinary people's everyday dress as well as noble people's plain suits, saints' uniforms with religious meanings, ceremonial costumes, funeral garments, etc. The various uses show that white clothes have been worn by many people. The unique custom that a People have worn white clothes consistently for such a long time may contain very deep symbolic meanings representing the people's sentiments and spirits. The present study understood that the meanings come from religious sacredness, magical wish for brightness, the pursuit of purity originating from the people's national traits, assimilation with nature and the will to attain whole ascetic personality. Aesthetic attitudes based on aesthetic values summed up as sacredness, brightness, purity, assimilation with nature, asceticism, etc. are the aesthetic consciousness pursued by Koreans through their white clothes. For Koreans, white color is the origin of their color sense coming from primitive religions such as worshipping the sun and the heaven. In this way, Korean people's preference for white clothes began with primitive religions, was mixed with various social, cultural and religious influences and finally was settled as their durable spirit, symbol and beauty.

• Fashion & Textile Research Journal
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• v.14 no.6
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• pp.889-897
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• 2012

This study suggests a direction for stage-costume design by making stage costumes based on amusement, eclecticism, and the masquerade, which are the criteria for approaching stage costume designs according to characteristics of the mask theatre presented by P. G. Bogatyryov. The conclusions of this study are as follows. First, criteria to approach stage costume design for mask theatre can be classified into amusement, eclecticism, and masquerade according to the characteristics of the mask theatre presented by P. G. Bogatyryov. Second, the stage costume of a mongrel dog showed amusement through the expression of the image of therianthropy through the combination of a fur-lined vest and wristlet, Korean traditional trousers with the paw-prints of a dog. Third, eclecticism contains diverse characteristics and escapes from being singularly defined due to the fusion of severally different heterogeneous objects. The stage costume differently used a method of wearing clothing in a different period, of choosing clothing materials, and of expressing color in every character to indicate ambiguity to which the drama points through the integration of various expression elements. Fourth, the masquerade present characters (Taembang, Daejang, and Changseok)who simultaneously play the role of fairies after having changed into a white mask and having worn Korean a traditional overcoat (Durumagi) on the original clothes; the, result is the change of the theatrical structure into another time and space inside the theatrical scene of imagination through a concealment of the original clothing.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.10
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• pp.1665-1672
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• 2009

This study examines the comfort of outdoorwear by electrocardiogram (ECG) and electroencephalogram (EEG) analyses. An experiment that consisted of rest (30 min), exercise (30 min), and recovery (20 min) periods was administered in a climate chamber with 10 healthy male participants. Two kinds of outdoorwear made of 100% cotton fabrics ('Control') and specially engineered fabrics having the feature of quick sweat absorbency and high speed drying fabric ('Functional') are evaluated in the experiment. ECG and EEG signals were obtained during the rest and recovery periods for the two outdoorwear conditions. The ECG analysis identified a smaller decrement of high frequency (HF) power for the 'Functional' when compared with the 'Control' during the recovery period. Next, the EEG analysis showed that the relative band powers of slow $\alpha$ and mid $\alpha$ increased for the 'Functional' while they decreased for the 'Control' and that the ratio of $\alpha$ power to high $\beta$ power was higher for the 'Functional'. The evaluation results indicate that the participants could remain relaxed more with less stress while wearing the functional outdoorwear that demonstrated the positive effects on autonomic nervous system (ANS) activities. The present study is significant in regard that use of ECG and EEG for the assessment of wear comfort is the first in the field of clothing and textile.

• Journal of Korean Foot and Ankle Society
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• v.5 no.2
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• pp.142-148
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• 2001

Purpose: To investigate the short term result of the first metatarsophalangeal arthrodesis for treating the hallux valgus deformity of rheumatoid arthritis, using a lag screw and dorsal mini-plate. Materials and Methods: From December 1999 to September 2001, The first metatarsophalangeal arthrodesis of 14 cases (9 patients) was underwent, using a lag screw and dorsal mini-plate. The follow-up period was averaged in 14.6 months. The subjective findings with respect to pain, functional aspect of ability to stand and walk, and to shoe-wearing were evaluated. The objective findings, such as the gross alignment and the radiological measurements for the hallux valgus angle, 1,2 intermetatarsal angle, and dorsiflexion angle were also studied. Results: After the arthrodesis of the first metatarsophalangeal joint, the subjective improvement in pain, function and alignment was graded as excellent in seven (50%) feet, good in seven (50%) feet, and fair or poor in none. The hallux valgus angle and 1,2 intermetatarsal angle were reduced from $44.1{\pm}7.1$ and $15.5{\pm}6.2$ degrees to $13.6{\pm}2.6$ and $10.2{\pm}2.2$ degrees respectively. The dorsiflexion angle was measured in $20.3{\pm}3.7$ degrees after the fusion. The radiological fusion was observed at average 8 weeks after the operation in all cases. The overall complication of the procedure was few, except the delayed wound healing in one. Conclusion: The arthrodesis of the first metatarsophalangeal joint using a lag screw and dorsal mini-plate was regarded as an excellent method of various operative modalities to correct the rheumatoid hallux valgus deformity.

• Korean Journal of Human Ecology
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• v.6 no.1
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• pp.97-109
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• 1997

Sean means a narrow cloth added to the edge of costume or cushion. At the beginning, Seon was originated to prevent from fraying warp of cloth or wearing out of cloth. However, with the progress of clothing culture, it is used to satisfy the human desire of decoration and enhance the function of costume. The Seon appeared on costumes of Ming dynasty was simple compared to that of the period preceeding it. The position of Seon was mostly at neckline, end of sleeves and hemline. The width of Seon also was quite monotonous and lacks of varieties. The patterns of Seon were limited to ax, cloud and dragon and cloud and chinese phoenix. And the colors used were also limited to four colors, namely Blue, Red Crimson and Black. In Ming dynasty, the same colors of Seon as those of the costume were more preferably used, while different colors of Seon were used in the previous era. The reason why Seon in Ming dynasty show simple design and use the same colors as those of the costume was due to Ming dynasty's desire to represent and to enhance her castic political structure. The need for class distinction was expressed through the pattern rather than the colors of the costumes themselves. While, in Ming dynasty, Bo(補) which was attached to the breast and the shoulders was used to represent the social class because it could be easily distinguished. In Ming dynasty, to stress Bo and to make Seon less conspicuous, Seon became simple and the colors of Seon were same as those of the costumes avoiding strong contrast in style and colors.