• 미술이론과 현장
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• 제10호
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• pp.63-84
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• 2010

This essay examines how the figure of Liberty has been refashioned in the streets of post-apartheid South Africa, addressing three public art works installed in Johannesburg over the past decade: Reshada Crouse's oil painting Passive Resistance, Marlene Dumas' tapestry The Benefit of the Doubt and William Kentridge's and Gerhard Marx's sculpture Firewalker. Even as these monumental works all reprise Delacroix's Liberty on the Barricades-an icon of the city street and its revolutionary barricades-so too this trio of Liberties have become mere phantoms of their vaunted archetype. Haunted specters, they quarrel with the mythologized chimera of Liberty, taking issue with the fraught tradition of pinning regime change onto the body of the female nude. Drawing instead on South African histories of women's resistance, in which female nudity has been repeatedly marshaled as a form of dissent, the Liberties circling Johannesburg hybridize their European template with local traditions of female political opposition to colonial and postcolonial male authority.

• 수완나부미
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• 제12권1호
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• pp.49-88
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• 2020

Two utilitarian and symbolic objects associated with womanhood in Cambodian culture are the stove and the pot. The pot is a symbol of both the womb and female sexuality; the stove is a symbol of gendered feminine labor. This article argues that the sexist representations of the Khmer female body by modern Cambodian male artists demonstrate an inherited legacy of Orientalist stereotypes. These images were formed : under French colonialism and often depict Khmer women as erotic/exotic native Others. Starting in the 1970s, however, if not earlier, Cambodian women began to question the gendering of social roles that confined them to domestic space and labor. This form of social questioning was especially present in pop songs. In recent years, contemporary Cambodian woman artists such as Neak Sophal and Tith Kanitha have made use of rice pots and stoves in their art as freighted symbols of femininity. Neak created an installation of rice pots from different households in their village, while Tith rebelled against this gendered role by destroying cooking stoves as an act of defiance against patriarchy in her performance art.

• 한국의학물리학회지:의학물리
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• 제26권2호
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• pp.79-86
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• 2015

이 연구는 조기 폐암의 정위방사선치료에서 육안적종양체적(Gross tumor volume, GTV) 변화에 따른 적응방사선치료(ART)의 효과 및 가능성을 보기 위해 시행되었다. 영남대학교 의료원에서 정위방사선치료를 시행한 22개의 종양을 대상으로 연구를 진행하였다. 정위방사선치료는 2주에 걸쳐 48 혹은 60 Gy를 4회에 나누어 조사하는 방법으로 시행되었다. 종양체적 변화를 측정하기 위해 매 콘빔시티마다 육안적종양체적에 대한 윤곽선 그리기를 시행하였다. 그 다음 첫 번째 콘빔시티에 기준 치료계획으로 사용할 세기조절방사선치료 계획을 시행하였다. 적응방사선치료 계획을 하기 위해, 2, 3, 4번째 콘빔시티에 기준 치료계획과 동일한 빔 각도와 제약을 적용하여 각각 재 최적화 과정을 진행하였다. 이후 적응방사선치료 계획은 기준치료계획을 각각의 콘빔시티에 복사하여 생성한 비적응방사선치료 계획과 비교되었다. 평균 육안적종양체적은 10.7 cc였다. 평균 종양체적 변화는 두 번째, 세 번째, 네 번째 콘빔시티에서 각각 -1.5%, 7.3%, 25.1%였으며 세 번째 이후 변화는 통계적으로 유의하였다(p<0.05). 하지만 두 번째 콘빔시티에서는 9개의 종양 체적이 증가하였다. 적응방사선치료 계획을 시행하였을 때, 폐에서 $V_{20\;Gy}$, $D_{1500\;cc}$, $D_{1000\;cc}$가 유의하게 감소하였으며, 흉벽에 대한 $V_{30\;Gy}$와 $V_{32\;Gy}$ 역시 유의하게 감소하였다(p<0.05). 두 번째 콘빔시티의 종양체적이 증가한 환자들에서, 기준치료 계획에 비해 적응치료방사선치료 계획을 시행하지 않았을 때, 계획용 표적체적에 대한 선량 범위 변수 중 $D_{min}$은 8.3% 감소한 반면 (p=0.021), 적응방사선치료계획을 시행한 경우에는 차이가 없었다. 이러한 결과를 보았을 때, 적응방사선치료 계획을 함으로서 표적 선량 커버는 개선시키면서 손상위험장기에 대한 선량을 감소시킬 수 있을 것이다. 그러므로, 콘빔시티를 이용한 적응방사선치료 방법은 조기 폐암의 정위방사선치료에서 고려되어야 하겠다.

• 한국의류학회지
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• 제33권8호
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• pp.1253-1261
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• 2009

The paper-folding effect of origami signifies a planarization of the body which questions the three dimensional construction of the body in a more conventional clothing system. Un-structured, variable space posited between the body and clothes, and an absence of gender identification characterizes the planarization of the body. Origami inspiration in fashion stresses a will-to-form rather than mere bodily proportion and structure, which explores a trans-extensity that goes beyond the boundary of the body. This study inquires on the influence of origami as a method to create new vestmental space in contemporary fashion. The flat-plane clothes of origami-inspired design are no longer cut to the body and the clothes could be altered by the wearer. The space is introduced in between a three-dimensional dress-body and the body. Origami-inspired design in Japanese avant-garde fashion deconstructs the convention and promotes a symbiosis of body and clothing instead. The shape of the body is completely estranged by three-dimensional sculptures, alluding to the paper folds of origami and the movement of the body that are transmitted to the clothing through fine folding that transform into an unexpected event.

• 한국패션뷰티학회지
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• 제5권4호
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• pp.149-157
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• 2007

Hair style was mean of visual symbol that display position or wealth about human life. Also, have spoken for cultural value as human body plastic art that speak for the age. I wished to study about modeling of hair style and interrelationship of color by analyzing systematically laying stress on color through contest creation work consisted in beauty art congress. Urpose of this study is as following. First, examines domestic' outside great council work head change by era, and studies Hair Work's change in work head. Second, Hair Color's change that appear in domestic' outside contest work head studies effect that get in work. Method of study runs parallel literature study and supporting research, utilized domestic' outside literature, connection paper, magazine, picture data etc. To literature study, and work picture data examined laying stress on work that is choosesed picture dataworld beauty use association (OMC) data etc. that appear in domestic' outside beauty art magazine to examine closely specification and stability of beauty art game style and participates in domestic and world beauty art contest. In this study, domestic' characteristic, and effect that collar gets in work head of collar that collects outside contest participating in an athletic contest hair style by ($1981{\sim}$until present) by year and appears in contest work head and in work since analyzing study forward $2007{\sim}2008$ year direction of collar. First, stream of whole color of the 1980s Brown gave highlight color point partially to basis, and was consisted of creative style and do Gold base color on the whole in Hair by Night item. Second, various Hair color was popularized in the 199Os, and Tuton's color appeared in beauty art game work, and I contributed to improve technique that step-up gradation color appears and does technique to highlight in neon orange in creative style and Hair by Night item by entrance on the stage of neuter gender color.

• 동아시아식생활학회지
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• 제16권6호
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• pp.646-654
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• 2006

This study was designed to examine body shape control and its related factors, including BMI(body mass index), desire for weight control, satisfaction with body shape, dissatisfaction with specific parts of body shape, starting period of concern about body shape, as well as experience, method, result, counsel, effort, expense and knowledge of body shape control. The survey was completed by 180 female university students in Gyeongsanbukdo through a self-administered questionnaire during September and October of 2006. The subjects were assigned to one of three groups based on self-estimated figure: 47.8% of the students estimated their figure as 'normal', while 38.3% of the students estimated themselves as 'thin' and 13.9% of the students as 'fat'. The results were as fellows. The mean age of the subjects was $19.45{\pm}1.67$ with a height and weight of $161.15{\pm}4.99cm$ and $52.63{\pm}10.78\;kg$, respectively. Their self-estimated figure was significantly related to BMI, desire for weight control, satisfaction, dissatisfaction with a specific part, and experience, counsel and effort in body shape control. This research suggests that students need to know how to properly control body shape in health and beauty.

• 한국실내디자인학회논문집
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• 제16권2호
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• pp.131-138
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• 2007

Relationship between body and space is fundamental in space design. The perception and concept of human body in each age directly affected the space makings of that time. Thoughts on human body are related to various periodical backgrounds such as culture, art, technology and etc. Body-Space relationship has been changed through different epochs and is being changed in the present time too. In contemporary cities, architectural programs has been fragmented and activities of individuals become more articulated. The rigidity of each architectural program has been forced to be more flexible amalgamation of diverse behaviors by dynamic urban time-space formations and patterns. Based on this current situations, new experimental designs that question the existing preconceived relationship between body and space in different views. These design experiments attempt to overcome the solid physical fixation of architectural buildings and to directly relate human body to intelligent devices, technologies, machines as well as spaces. This research focus on the innovative design projects in which body, machine, space are smartly compound as one organization. The purpose of this study is to examine the new Body-Space relationship as well as some relevant case projects in contemporary fashion, furniture, interior design and architecture.

• 한국의류산업학회지
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• 제13권6호
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• pp.866-876
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• 2011

We find ourselves living in a post-human era when technology and images coexist with humans. A cyborg, a combination of an organic body and a machine could be called a human fused with a machine. It could be understood as a new species where humans and machines have combined rather than simple protoplasm or an organic body. The purpose of this study is to demonstrate that a concept of a body in post humanism era is finding expression in fashion illustration through cyborg images. The concepts of post humanism and cyborg are analysed by means of research into literature and characteristics in which cyborg images as post humans are expressed through art, and images of a cyborg body in fashion illustration and their meanings are explored with the foregoing as a framework of reference. Cyborg image reflects new images and concept of a human in post humanism. The cyborg body images in fashion illustration are expressed through the addition of mechanical images, digital virtual body, monster image by means of hybrid combination, distorted physical transformation and fragmented body and body absence. And cyborg image in fashion illustration shows the extension of body concepts through the technology and uncertain and ambiguous identity.

• 복식문화연구
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• 제15권4호
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• pp.604-619
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• 2007

Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Using 'body' to analyze the clothing form, my study develops a framework by which to classify the representation and non-representation of the body in fashion. Theoretically, this study draws from Jean Baudrillard's Simulation theory which maintains that simulation develops the whole edifice of representation. My study substitutes the successive phases of the image to that of (non) representing body in fashion. The correspondences between them are; first, 'image is the reflection of a basic reality' for the representation of physicality, second, 'image masks and perverts a basic reality' for the manipulation of physicality, third, 'image masks the absence of a basic reality' for the absence of physicality, and fourth, 'image bears no relation to any reality whatever' for the absence of body in fashion. Aesthetic ideal of the body is visualized in the form of a dress. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. My study suggests a framework to analyze bodily representation in fashion, focusing on the relationship between the clothes and body.

• 패션비즈니스
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• 제17권4호
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• pp.40-57
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• 2013

In examining the relationship between fashion and art which are intimately interrelated, the body is a suitable subject in that it is the common object of representation. This study investigates and compares the images of the body in Francis Bacon's paintings from 1940s to 1970s and the formative aspect and aesthetic value of the abstract body images in Rei Kawakubo's designs since 1980s. The figures in Bacon's paintings are confusingly and atypically deformed as well as distorted, which are the combinations of the anatomies without references, not so much represented objects as experienced sense. Kawakubo's designs attempt to deform the body, moreover, she transforms the body; represent abstract forms without association with any other figures that exist, emphasizing sculptural or architectural shapes of garment. She suggests extensive visual language of dress by challenging the norms of beauty. The body in Bacon and Kawakubo's works is dispersive as well as complex in that the body images are deconstructed, fragmented, and exaggerated. Respectively, they articulate the perception of the body in postmodernism era by destroying the myth of subject; furthermore establish the aesthetics that transcend conventional ideals by reevaluating as well as refusing the standards of beauty.