• Journal of the Korean Society of Costume
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• v.56 no.3 s.102
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• pp.1-11
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• 2006

Che Guevara spearheading the Cuban Revolution was not only the icon as the revolutionary to the New-leftists of the 1960s advocating the ideology of Marxism but, as the cultural revolutionary, had a tremendous influence on the younger generation living in the digital age Che Guevara take on a figure of both the symbol of the Leftist but the romantic revolutionary because he had the external features such as black beret, red stars, military upper jackets and trousers, beard and pipe tobacco. In fact, the symbolic image of Che Guevara was made as the popular image by the avantgarde artists and political vanguard forces of the times under the necessity of Cuban government. Afterwards, the image of Che Guevara has been patronized in making people of aware of the resistant and revolutionary image to capital, power and the power of the media and symbolized as the resistant image to the American capital as well as the revolutionary guerrilla. And his image has continued to be reproduced and symbolized for the commercial and political purposes and as the enthusiastic image of youth culture. This can be seen as having been created as a new image by the popular culture formed by the development of the cyber culture and mass media in the cyberspace shaped by contemporary 'N' generations. The use of Che Guevara's symbolic image was made in the fashion field as well as in the cultural and artistic circles. The borrowing of the icon of Che Guevara represented in a fashion field is attributed to his free spirit, and it can be seen that fashion exists as the vehicle for representing both the symbol system and the sign system containing ideologies and texts as the communicator of resistance to the regime and to social issues. Therefore, this study attempted to investigate the commercial iconization of Che Guevara in the 1990s by comparing the ideology of the symbol in the 1960s and the 1990s and inquire into the borrowing of his image by the fashion domain as well as the fashion worn by him by reference to domestic books and materials on the fashion site. Thereby, this study attempted to make clear that the borrowing of Che Guevara in the realm of fashion since the 1990s not only contained the meaningful interpretation as the symbolic code in the culture of young people living in a digital era but fashion performs an intervening role in the cultural phenomenon.

• Journal of the Korean Society of Costume
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• v.55 no.6 s.96
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• pp.24-37
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• 2005

This study was performed to get basic data for gloves size system and pattern planning suitable Korean hand shape. Data was collected through measuring hand size of man and woman from age 18 to 30 as subjects living in metropolitan area. by analysing the measured data, the difference in man and woman and the gloves size system was established. The results of study are as follows: 1. The Deviation of hand girths and hand lengths was larger than that of hand width in both man group and woman group. In all items. deviation in man was larger than woman. 2. In sex difference, there was difference between mall group and woman group in all items. In age difference, there was difference between mall group and woman group in mainly girth and the difference was bigger in group under 24 years old than in group over 24 years old. 3. The weight showed the highest $correlation(r{\geqq}0.8)$ with girths and high correlation with widths $(r{\geqq}0.7).$ The height showed the highest positive $correlation(r{\geqq}0.8)$ with and elbow length and high correlations with width and girths item. There were high positive correlation between vertical lengths in hand and between horizontal lengths but low correlation between vertical lengths and horizontal lengths. 4. The basic parts for gloves size system, hand lengths and hand girths were divided into 1cm interval. The results shouted that $91.0\%$ of man group were ranged from 18cm to 20cm section and $92.4\%$, of woman group were ranged from 16cm to 18cm section. 5. The interval which has the highest covet· rate was hand length 19cm and hand girth 20cm interval which covered $18.65\%$ of man group. The intervals which showed cover rate more than $5\%$ was total 7 and they covered $73.1\%$ of man group. The interval which has which has the highest cover rate was hand length 17cm and hand girth 17cm interval which covered $21.37\%$ of woman group. The intervals which showed cover rate more than $5\%$ was total 6 and they covered $72.5\%$ of total woman group.

• International Journal of Costume and Fashion
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• v.6 no.1
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• pp.48-55
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• 2006

본 논문은 현재 패턴구성 과정에 있는 1년 차 영국과 한국 학생들의 교육체제를 연구 비교 하므로써 그 차이점을 알아보고 궁극적으로 나아가야 할 방향에 대해서 연구되었다. 우선 두 나라의 교육체계에 관해 간단한 배경 설명 후에 학제의 시작이 두 나라 사이에 큰 차이점이 있음을 강조하였다. 본 논문은 일차자료와 이차자료를 모두 이용하였으며 설문지 내용은 지면 할애상 생략하였다. 본문에서는 첫 번째로 강의 방법에 대해 알아보았으며 두 나라간의 교수 형식으로는 큰 차이를 볼 수 가 없었다. 그 다음으로는 교수의 자격 요건 이었으며 연령대가 다른 차이점 이외에는 큰 차이점을 볼 수 없었다. 또한 교수법에 있어 가장 중요한 열정과 동기부여 등을 강조하였다. 이론적인 수업은 한국의 대학에서 강조된 반면 영국에서는 실질적인 부분을 강조함을 알 수 있었다. 그리고, 한국의 경우 대부분의 학생들이 수업의 진행을 위해 교과서를 구입해야 하는 반면 영국 학생들의 경우 자세한 설명이 첨부된 복사물을 받아 수업을 받고 있었다. 그 이유는 학생들의 수업능력 차이에 있으며 또 한가지는 경제적 문제라고 할 수 있다. 한국의 학생 정원은 40명이었으며 대부분의 학생들이 거의 포기하지 않고 졸업을 하는 반면, 본인이 조사한 대학의 경우, 25명의 정원으로 시작하였으나 여러 가지 개인 사정으로 조사 당시 15명의 인원수만 남아 있었다. 적은 수의 학생수는 곧 수업의 질과 연관됨을 알 수 있었다. 두 나라의 학생수업 능력과 학생 수가 많이 달라 영국 학생들의 경우 선생에게 의지하려는 경향을 많이 보인 반면 한국학생들은 독립적인 특징들을 보였다. 두 나라 학생들 모두 과제물을 많이 받고 있었으며 2학년 말에는 의상발표회를 하는 공통점을 보였다. 평가 방법상에서는 큰 차이가 보였다. 영국의 경우 평가에 관한 사항을 아주 세분화하여 공식적으로 책자를 만들어 그 규칙을 철저히 지키도록 한 반면, 한국의 경우에는 정해진 세부사항 없이 크게 ABCD체제의 방식과 출석상황, 중간고사, 기말고사, 과제물 완성도 등을 퍼센티지로 나누어 평가하고 있었다. 학생들에게 주어지는 균등한 기회나 평등의 문제도 학생들의 자격, 신분 등이 거의 다르지 않은 한국에서는 그리 중요한 사항은 아니었으나 다민족 국민으로 이루어진 영국의 학생들에게는 아주 민감한 사항임을 알 수 있었다.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.18 no.7
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• pp.1764-1776
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• 2014

This study is the context about an introduction of a bookkeeping by double entry & accrual base accounting which is the turning point of National Accounting and defense integrated financial management which is delivered following system Digital Budget Accounting system, in other words about something to do with the improvement of efficiency of financial information data. National defense Integration Financial Information system (NDIFIS) facilitates Project program management and makes the whole process of Defense financial Business manageable in one system. Also, there is a purpose to increase the credibility and transparency of National defense finances by providing internal and external information users with credible financial statements and cost materials. By using data envelopment analysis (DEA) which is a useful method to measuring the efficiency of organization, this study aims to improve the financial information data efficiency by comparing the efficiency of the same type troops and when it comes to the inefficient troops, by offering the certain objective of efficiency.

• KSCE Journal of Civil and Environmental Engineering Research
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• v.33 no.3
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• pp.1203-1213
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• 2013

Governmental accounting system has changed from budgetary accounting on the basis of cash and bookkeeping by single entry to financial accounting on the basis of accrual and bookkeeping by double entry. In the context of this transition, infrastructure becomes considered an asset in accounting, and resulting accounting methods also take different approaches from conventional budgetary accounting. Financial accounting system defines expenditures into two categories, i.e. capital expenditure(CAPEX) and operational expenditure(OPEX), and stipulates that the expenditure shall be divided into those two categories before accounting. The construction and expansion of infrastructure must be considered a CAPEX because it means a sort of asset acquisition, but with regard to applications in practical accounting, it is actually challenging to judge whether any expenditure associated with maintenance works (including repair and service) during use of infrastructure acquired shall be considered CAPEX or OPEX. This paper suggested an asset management based accounting method for sewer maintenance expenditure. And it applied the method to actual accounting cases and analyzed them in comparison with conventional financial information. As a case study result, Sewer asset value of S city increased approximately 700 hundred won because sewer maintenance expenditure are classified between OPEX and CAPEX according to the proposed accounting method. It is expected that the proposed accounting method will contribute significantly to providing any proper sewer asset value information.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.22 no.5
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• pp.343-353
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• 2021

Historical dramas are changing in response to the public who wants more dramatic development, and historical costumes are also expressed in a modern sense. The purpose of this study is to examine the modernization of historical costumes in historical dramas and how the modernization of historical costumes in historical dramas is fostered from the learner's point of view with suggesting implications. As a result of this study, first, the essential problem with the modernization of historical costumes was the excessive modern transformation that undermines historical facts in historical dramas. Second, the negative perceptions of the modernization of historical costumes in historical dramas included the loss of the unique Korean identity, decreased immersion in drama, and the educational influence of media. Positive perceptions focused on the increased interest through raising awareness of traditional culture, compromises on changes in the times, and increased visual play of the public. Third, the implications of the modernization of historical costumes in historical dramas require the awareness improvement of participants in historical drama and a thorough preliminary investigation by the costume designer on the historical costume, an in-depth study of traditional costumes, a systematic educational approach, viewers' attention, and government effort.

• Journal of Korea Entertainment Industry Association
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• v.13 no.5
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• pp.67-72
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• 2019

Animation is a comprehensive audio-visual art, animation literature, painting, music, architecture, photography and other art forms are integrated. China's animation industry has made some achievements in the new century, but on the whole, with the globalization of China, China's animation industry has been influenced by Japan and the United States. China has a history and culture of five thousand years, with profound social deposits and cultural foundation. Of the four ancient civilizations in the world, the Chinese civilization is the only one that has survived. China has too many stories to tell. From the development history of Chinese and foreign animation, we can see that many Chinese traditional cultural elements are used for reference. Since the 1980s, Chinese animation has been on the road of national revival. Chinese animation has begun to draw close to traditional culture in terms of themes, characters and scenes, and integrate Chinese traditional cultural elements. The theme of big fish and begonia is to repay kindness by sacrificing one's own life for the sake of justice and friendship. This fearless spirit of sacrificing one's life for justice is the concentrated embodiment of the fine qualities of the Chinese nation over the past several thousand years. Kun to save chun and give up his life, chun in order to repay rather give up half of his life, and qiushui in order to help their beloved, also would rather give up all of their own. These three protagonists are very distinctive personality characteristics, are to "righteousness" and give up their most precious things. At the same time, big fish and begonia combines many traditional Chinese cultural elements to form an animated film with Chinese characteristics.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.226-241
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• 2020

Located on the right side of the third floor of the State Hermitage Museum in St. Petersburg, the "Art of Central Asia" exhibition boasts the world's finest collection of artworks and artifacts from the Silk Road. Every item in the collection has been classified by region, and many of them were collected in the early twentieth century through archaeological surveys led by Russia's Pyotr Kozlov, Mikhail Berezovsky, and Sergey Oldenburg. Some of these artifacts have been presented around the world through special exhibitions held in Germany, France, the United Kingdom, the Netherlands, Korea, Japan, and elsewhere. The fruits of Russia's Silk Road expeditions were also on full display in the 2008 exhibition The Caves of One Thousand Buddhas - Russian Expeditions on the Silk Route on the Occasion of 190 Years of the Asiatic Museum, held at the Hermitage Museum. Published in 2018 by the Shanghai Chinese Classics Publishing House in collaboration with the Hermitage Museum, Kuche Art Relics Collected in Russia introduces the Hermitage's collection of artifacts from the Kuche (or Kucha) region. While the book focuses exclusively on artifacts excavated from the Kuche area, it also includes valuable on-site photos and sketches from the Russian expeditions, thus helping to enhance readers' overall understanding of the characteristics of Kuche art within the Buddhist art of Central Asia. The book was compiled by Dr. Kira Samosyuk, senior curator of the Oriental Department of the Hermitage Museum, who also wrote the main article and the artifact descriptions. Dr. Samosyuk is an internationally renowned scholar of Central Asian Buddhist art, with a particular expertise in the art of Khara-Khoto and Xi-yu. In her article "The Art of the Kuche Buddhist Temples," Dr. Samosyuk provides an overview of Russia's Silk Road expeditions, before introducing the historical development of Kuche in the Buddhist era and the aspects of Buddhism transmitted to Kuche. She describes the murals and clay sculptures in the Buddhist grottoes, giving important details on their themes and issues with estimating their dates, and also explains how the temples operated as places of worship. In conclusion, Dr. Samosyuk argues that the Kuche region, while continuously engaging with various peoples in China and the nomadic world, developed its own independent Buddhist culture incorporating elements of Gandara, Hellenistic, Persian, and Chinese art and culture. Finally, she states that the culture of the Kuche region had a profound influence not only on the Tarim Basin, but also on the Buddhist grottoes of Dunhuang and the central region of China. A considerable portion of Dr. Samosyuk's article addresses efforts to estimate the date of the grottoes in the Kuche region. After citing various scholars' views on the dates of the murals, she argues that the Kizil grottoes likely began prior to the fifth century, which is at least 100 years earlier than most current estimates. This conclusion is reached by comparing the iconography of the armor depicted in the murals with related materials excavated from the surrounding area (such as items of Sogdian art). However, efforts to date the Buddhist grottoes of Kuche must take many factors into consideration, such as the geological characteristics of the caves, the themes and styles of the Buddhist paintings, the types of pigments used, and the clothing, hairstyles, and ornamentation of the depicted figures. Moreover, such interdisciplinary data must be studied within the context of Kuche's relations with nearby cultures. Scientific methods such as radiocarbon dating could also be applied for supplementary materials. The preface of Kuche Art Relics Collected in Russia reveals that the catalog is the first volume covering the Hermitage Museum's collection of Kuche art, and that the next volume in the series will cover a large collection of mural fragments that were taken from Berlin during World War II. For many years, the whereabouts of these mural fragments were unknown to both the public and academia, but after restoration, the fragments were recently re-introduced to the public as part of the museum's permanent exhibition. We look forward to the next publication that focuses on these mural fragments, and also to future catalogs introducing the artifacts of Turpan and Khotan. Currently, fragments of the murals from the Kuche grottoes are scattered among various countries, including Russia, Germany, and Korea. With the publication of this catalog, it seems like an opportune time to publish a comprehensive catalog on the murals of the Kuche region, which represent a compelling mixture of East-West culture that reflects the overall characteristics of the region. A catalog that includes both the remaining murals of the Kizil grottoes and the fragments from different parts of the world could greatly enhance our understanding of the murals' original state. Such a book would hopefully include a more detailed and interdisciplinary discussion of the artifacts and murals, including scientific analyses of the pigments and other materials from the perspective of conservation science. With the ongoing rapid development in western China, the grotto murals are facing a serious crisis related to climate change and overcrowding in the oasis city of Xinjiang. To overcome this challenge, the cultural communities of China and other countries that possess advanced technology for conservation and restoration must begin working together to protect and restore the murals of the Silk Road grottoes. Moreover, centers for conservation science should be established to foster human resources and collect information. Compiling the data of Russian expeditions related to the grottoes of Kuche (among the results of Western archaeological surveys of the Silk Road in the early twentieth century), Kuche Art Relics Collected in Russia represents an important contribution to research on Kuche's Buddhist art and the Silk Road, which will only be enhanced by a future volume introducing the mural fragments from Germany. As the new authoritative source for academic research on the artworks and artifacts of the Kuche region, the book also lays the groundwork for new directions for future studies on the Silk Road. Finally, the book is also quite significant for employing a new editing system that improves its academic clarity and convenience. In conclusion, Dr. Kira Samosyuk, who planned the publication, deserves tremendous praise for taking the research of Silk Road art to new heights.