• Journal of Fashion Business
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• v.12 no.1
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• pp.93-108
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• 2008

This study held physical measurement for male subjects in their 20s living in Ningbo City, Zhejiang Province in China, showing the biggest market in men's clothes. Their representative lower body types with average shapes and sizes were chosen so as to develop men's slacks patterns with better dimension fitness. The following are the results of the analysis: 1. Slacks patterns were made based on the mean measurement values of 5 people, who were closest to the representative body types, from the index*absolute group of 47 people. The dimensions of application for slacks pattern-making were 77cm(omphalion waist circumference), 91cm(hip circumference), and 103cm(slacks length). 2. For the comparison of high-fitness and more-room pattern dimensions, 5 styles of slacks were made: Korean, Chinese, British, Japanese, and industrial. In the dressing fitness tests, industrial patterns had excellent appearance and Japanese ones had the best function. 3. Based on the analysis results of slacks pattern comparison, the target slacks were experimentally made and received superior evaluation points to the compared slacks patterns in two times of evaluation for appearance and function. 4. The final slacks pattern in this research had the following dimensions: front waist circumference: W(1-2cm with room included)/4-1cm, back waist circumference: W/4+1cm, front hip circumference: H(9$\sim$10cm with room included)/4-1cm, back hip circumference: H/4+1cm, crotch length: H/4-1.5cm, hip length: crotch length-H/12, front crotch extension: H/16-1.5cm, back crotch extension: H/8+3cm, knee line: 33cm below crotch line, front tuck amount: 4cm, back dart amount: 2.5cm(center) and 1.5cm(side), and back dart length: 10cm (center) and 6cm(side).

• Journal of Fashion Business
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• v.19 no.2
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• pp.103-117
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• 2015

The purpose of this study was to examine the uniform image of Korean herbal cosmetic brands amongst Korean and Chinese consumers. This study would enable us to explore a BI strategy to enhance international competitiveness of Korean herbal cosmetics brands. The results were as follows. The key words of BI pursued by Sulwhasoo were dignified, novel, graceful, soft, gaily, natural, Korean, modern, and international. Korean people felt that the uniform was graceful and soft, which accorded with Sulwhasoo BI, but also it was trite and dingy, indicating a negative and opposing image. On the other hand, Chinese people felt that the uniform was dignified, novel, graceful, natural, modern, and international, indicating that it matched with Sulwhasoo BI. In The History of Whoo, the key words of BI pursued by the brand were precious, soft, gorgeous, gaily, and natural. The Koreans felt that the uniform was intelligent, and decent, but conversely, it was also austere and dingy, indicating a negative image. The Chinese felt that the uniform was common, hard, austere, dingy, and unnatural, indicating an opposing image to BI. Finally, a uniform design was developed to improve on its problems, establish The History of Whoo's brand identity, and its brand image. First of all, 'The Quintessence : noble passion' was set up as a developmental concept. The textiles, clothing, and accessories were designed using the symbolic elements from The History of Whoo as a motif. Uniforms were developed for spring, fall, and summer.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.22 no.3
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• pp.381-389
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• 2021

Maogusi dance is an ancient ritual dance of the Tujia, a Chinese ethnic minority living in the remote region of the western Hunan Province of China. With characters, dialogues, simple story plots and unique performance procedures, it expresses ancient people's devout worship of nature, totems, ancestors, and reproduction in the uncivilized age. With the advancement of human civilization and the opening to the outside world, many dances of the ethnic minority gradually have faded out, while the Maogusi dance is still popular among the Tujia people and its spiritual symbols have been passed on through the generations. It is recognized by experts in dance and drama circles as the original source of Chinese dance and drama. From the perspectives of philosophy, religion, anthropology and folklore, this paper tries to remove the mysterious veil covering the Maogusi dance of the Tujia to explain how its ancient spiritual symbols have survived and why the original ecological consciousness has been preserved. These aims would help in understanding the deep connotation of this ancient Chinese art with its long history and profound culture.

• Journal of Acupuncture Research
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• v.37 no.3
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• pp.177-180
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• 2020

Background: The aim of this study was to examine whether the effects of acupotomy therapy were beneficial for the treatment of protrusion of lumbar intervertebral disc. Methods: The number of patients (n = 80) were equally assigned into treatment group and control group. Treatment group was given acupotomy therapy twice a week, and control group was given acupuncture 3 times a week, for 4 weeks. The beneficial effect and changes in score of the Japan Orthopedic Association (JOA) for low back pain were observed. Results: Among 40 cases in the treatment group, there were 25 (62.5%) with an excellent effect, 13 (32.5%) with good effect, 1 (2.5%) with a medium effect and 1 (2.5%) with poor effect, with the total experiencing an excellent/good effect of 95.0%. Among 40 cases in the control group, there were 11 (27.5%) with an excellent effect, 17 (42.5%) with good effect, 10 (25.0%) with a medium effect, and 2 (5.0%) with poor effect, with an excellent/good rate of 70.0%. The result of the rank sum test showed Z = -4.923, p < 0.05 in the comparison, indicating a significantly better outcome following acupotomy compared with acupuncture. JOA scores increased in both groups after treatment (p < 0.05), which was more significant in the acupotomy treatment group (p < 0.05). Conclusion: Acupotomy therapy has a beneficial effect on protrusion of lumbar intervertebral disc.

• Journal of Digital Convergence
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• v.13 no.11
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• pp.417-425
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• 2015

The purpose of this study is to verify differences between Korean and Chinese consumers in consideration, shopping value, the extent of purchase satisfaction and intent to revisit the site when people use social commerce. When Korean and Chinese consumers use social commerce, it was confirmed that they look at four things; economical efficiency, practical, informativeness, and convenience. There are the following results. Firstly, it was found that in the case of using social commerce, economical efficiency as a factor of consideration was higher in Chinese consumers than Korean consumers. Secondly, practical of social commerce concerns the social commerce site's trustworthiness and stability, and also the popularity of the site and ease in which users can use the site. In this, this factor is more important to Chinese consumers than Korean consumers. Thirdly, in the factors of informativeness, which means product information and quality, and buyers comments, there was no confirmed difference between Korean and Chinese consumers. Fourth, in the convenience factor, there was a difference found between Korean and Chinese consumers.

• Journal of Digital Convergence
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• v.14 no.10
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• pp.17-23
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• 2016

I think it is valuable to make Chinese ancient character 'Inscriptions on Bones and Tortoise Carapaces' hieroglyphics popular by combining with the digital. Because Chinese characters are ideograms, it has a huge visual effect. When it is thought over meanings with imaged data by using digital technology, it can be easier to conflate Chinese academia and humanities academia, moreover other academia that uses Chinese characters such as jurisprudence or business administration. I believe not only union of humanities and natural science in the global era can be the best example of the word 'consilience', which I mentioned before, but also people enjoy usability from educations, invention of learning contents or open learning to a cultural field by coming into wide use. Futhermore, it should contribute to changing the image of Chinese characteristics from existing difficult stereotype to positive image.

• Cartoon and Animation Studies
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• s.37
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• pp.25-44
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• 2014

In the past 5 years, Chinese film market has witnessed a great development, with the film and animation box hitting records highs. At the same time, TV contents become more and more diverse, and the widespread use of smart phones makes Internet the new popular media today. On this occasion, domestic animation production is growing year by year because of people's growing demand for animation. And the volume of introduced foreign animations is growing as well. But under the same conditions, domestic animation shows obvious lack of competiveness. Chinese traditional stories have rich contents, providing a large amount of animation material. But most animations based on theses contents cannot arouse audiences' interests. This paper mainly analyzes the development situation of traditional story-based Chinese animation whose content is single and low-aged, and then put forward a new solution for Chinese animation development, which is, adding horror elements to traditional stories. And finally, through analyzing four horror animations , this paper further discusses the implementation possibility of this idea.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.4
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• pp.15-28
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• 2011

This study will focus on research and analysis covering the period of time since the creation of the People's Republic of China to current day China, with an emphasis on 20-something year-old women living in Shanghai. In conducting this research, historical evidence of fashion was derived from books, photographs, and Internet resources pertaining to the specific periods of interest. Furthermore, each set of data has been organized in approximately decade-long segments that best reflect the transformation of Chinese fashion from 1949 to 2000. As a result of the countrywide emphasis placed on revitalization of the newly created Chinese state during the period of 1949 to 1965, detail to fashion was largely ignored, in preference to the successful upstart of a working economic foundation. This neglect of fashion is evident by the scarcity of new and daring styles during this period. The following the period of 1966 to 1977 ushered in a cultural revolution that was aptly demonstrated in the changing fashion tastes. When compared with the previous period, the blandness of clothing, authorized by the Chinese government clearly reflected the rules and regulations strictly enforced by a government mandate of conformity and obedience. These orthodox changes were so drastic, that women wearing these clothes could hardly be differentiated from men in the same style wear. After Mao Ze Dong's death in 1976 and the end of the sternest period of the Chinese Revolution, a new era of Chinese culture and fashion was made possible by a more lax and tolerant government. During the later palt of the seventies through the eighties, this new governmental policy fostered more openness and self-expression, both of which led to a newfound interest in expressing one's desires and personality through the clothes he or she chose to wear.

• Fashion & Textile Research Journal
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• v.14 no.2
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• pp.251-260
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• 2012

Nowadays, global wedding dress companies are interested in the Chinese wedding market because of expectations in consumption patterns of the post 80's generation. Therefore, wedding behavior, selection criteria for wedding dresses, and favored image by segmented groups targeting 20's to 30's Chinese women were studied to help the Korean wedding dress industry to establish their business in China. The survey was conducted in Shanghai city and three neighboring cities-Wuxi, Zhengziang, and Hangzhou-, and the primary data were analyzed using the SPSS program. As results, Chinese women thought that the wedding ceremony should be elegant and dignified, and they wanted to choose their favorite style rather than a recommended style. The criteria of selection were classified into four factors. Overall image and well fitting with their face and body were the most important factors in the selection of wedding dress. The most favored image was unique/novel image. Several favored images for their wedding dress were significantly different by occasion (ceremony day and photo shoot day) and education level. People of higher education level preferred more luxurious and classic image during the ceremony, and a classic and gorgeous image on the photo shoot day. A white dress and a colored dress for weddings were favored more than the Chinese traditional dress on both occasions. There was also a significant difference between general consumers and the wedding business employees in the quantity of wanted wedding dress.

• The Journal of the Korea Contents Association
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• v.17 no.7
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• pp.358-370
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• 2017

This thesis discusses the emerging system of value and structure of feeling in today's Chinese society through analyzing Chinese main theme TV series. The 2000s' Chinese main theme TV series represents Chinese's anger and nervousness into the structure of narrative, and they try to form a bond of sympathy with the audience by various characters which represent the common people. Main characters are no longer revolutionists who internalize ideas of socialism and collectivism, but they put emphasis on individuals' thoughts, tastes, and values, and freely express them. Individualism, which was negatively represented and excluded in main theme TV series before 2000s, are compromised and included in today's Chinese dramas. Even though dramas represent the superiority of communism, individuals' choice of various value and faith is positively and flexibly considered. There is a new phenomenon where female figures are no longer passive and dependent, but they are portrayed with given with unique roles and status. Although main theme TV series are directed under the state and government's supervision, they exist in the relation where market, state, drama text, and audience interact.