• 대한불안의학회지
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• 제8권1호
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• pp.22-30
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• 2012

Objective : We investigated whether Posttraumatic stress disorder patients have a higher tendency to exaggerate the extent of their psychological symptoms compared to other psychiatric patients. Methods : Medical records of patients, who had received psychiatric treatment at four university hospitals in Korea between January 2009 and December 2010, were retrospectively reviewed. We compared a group of 37 patients diagnosed with PTSD, and another group of 41 patients diagnosed with neurotic, stress-related and somatoform disorders according to the ICD-10. To compare the extent of malingering in the two groups, we compared the validity scales of MMPI-2 and Personality Assessment Inventory. We determined the number of participants in both groups feigning their responses by using various cutoff scores of the validity indicators. Results : The PTSD group showed significantly higher scores on the F (p=0.001), F (B)(p=0.000), F (P)(p=0.030), F-K (p=0.003) scale of the MMPI-2 compared to the other group of psychiatric patients. The PTSD group had a significantly higher NIM score (p=0.001) but a lower PIM score (p=0.020) of the PAI compared to the other group of psychiatric patients. Using the cutoff scores, the PTSD group showed a significantly higher number of patients who feigned responses compared to the other group ($Fb{\geq}75$ (p=0.010), $F-K{\geq}1$ (p=0.005), $F-K{\geq}10$ (p=0.011) from the MMPI-2, and $NIM{\geq}80$ (p=0.001) from the PAI). Conclusion : These results suggest that PTSD patients have a tendency to exaggerate their symptom. This group of patients overreported the severity of their condition during standardized personality assessment that included the MMPI-2 or PAI compared to patients diagnosed with other psychiatric disorders. Additional research is required to determine the factors influencing symptom exaggeration in PTSD.

• 한국엔터테인먼트산업학회논문지
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• 제15권4호
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• pp.89-100
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• 2021

희은 고대 그리스시대부터 현재까지 대중의 인기를 받으며 존재해왔다. 희극을 더 효과적으로 시각화하기 위해서는 배우의 연기가 중요한 요소로 작용한다. 그렇다면 배우가 희극적 연기를 수행하는데 있어서 실제로 어떻게 형상화할 수 있는지에 대한 적극적인 논의가 필요하다. 연극 <코트>의 김서영 역을 중심으로 희극적 연기 방법에 관해 접근하고자 한다. 본 연구자가 김서영 역을 맡아 수행하였으며, 희극적 연기의 특징으로는 과장과 반복, 빠른 템포, 변화 있는 어조, 과장된 신체 행위 등을 들 수 있다. 희극적 연기는 반응의 부조화에서 비롯된다. 자극에 대해 기대하지 않은 반응은 관객의 웃음을 유발할 수 있는 요인이 되기 때문이다. 또한 희극적 연기는 과장과 반복이 중요하게 작용하는데, 여기에는 진실한 연기가 기반이 되어야 한다. 행위의 빠른 템포감과 말의 변화 있는 어조도 희극적 연기 표현에 영향을 미치며, 소극(farce) 연기의 특징이라고 할 수 있는 '슬랩스틱'과 '군무' 등의 구현은 관객의 웃음을 유발하는 데 중요한 역할을 한다. 이러한 특징적 요소들이 희극적 효과를 나타내기 위해서는 진실하게 표현하는 배우의 연기가 기반이 되어야 한다. 희극적 연기에서 중요한 것은 텍스트의 서사적 흐름과 특징을 이해하고 그것을 정확하게 표현하는 것이다. 배우는 자신의 수단을 진실하게 표현하고 텍스트에서 요구하는 것을 있는 그대로 충실하게 보여준다면 희극적 효과는 충분히 나타낼 수 있다. 이러한 연구가 다양한 연기예술에 대한 탐구와 연기교육현장 그리고 연극창작 과정에 도움이 되길 기대한다.

• Genomics & Informatics
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• 제17권3호
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• pp.34.1-34.3
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• 2019

Direct-to-consumer (DTC) genetic testing is a controversial issue although Korean Government is considering to expand DTC genetic testing. Preventing the exaggeration and abusing of DTC genetic testing is an important task considering the early history of DTC genetic testing in Korea. And the DTC genetic testing performance or method has been rarely reported to the scientific and/or medical community and reliability of DTC genetic testing needs to be assessed. Law enforcement needs to improve these issues. Also principle of transparency needs to be applied.

• 복식문화연구
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• 제17권5호
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• pp.923-938
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• 2009

Since the end of 1960s, an era of internationalization, Interculturalism has been reflected in intercultural plays which borrow concepts of foreign-cultural aesthetics for the performance and create a new stage language. Among many writers and performers, Oh, Tae-seok created his own unique aesthetic performances through experimental and avant-garde methodologies connected with various areas of art. His plays are worth studying since they suggest us a point of view which helps us to get out of the ordinary, fixed thought and try to see variety of reality. Therefore, our study categorized Oh, Tae-seok's play into four areas according to grotesquery interculturalism : Evil sprit, Abhorrence, Exaggeration and distort, and Heterogeneity. Based on this category, we analyzed plastic artistic characteristics of his plays' stage costume, for example, shapes, materials, and color, and tried to enhance the aesthetic value of his plays. We made a conclusion that the play showed grotesquery features in stage costume, which represented death, tragedy, evil sprit of human negligence, surprising and grotesquery abhorrence by deformity of the body, exaggeration and distortion, ridiculousness, and heterogeneity, the mixture of abnormality and unstableness. Our study could help produce adequate stage costume matching the features of the performance, and be the cornerstone of grotesquery aesthetic interculturalism study reflected in stage costume.

• 한국의상디자인학회지
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• 제20권1호
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• pp.109-124
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• 2018

This study focused on the accessory of clothes of minority groups in Yunnan province to further the research about specific accessories' development in the future. Among the minorities in Yunnan, this study centralized characteristics of ornaments, hats and belts among five minority groups such as the Bai, Zhuang, Hani, Dai, and the Zang as representatives to study in detail because these five ethnicities have a relatively long history and plentiful information. The results are as follows: First, exaggeration means large gorgeous patterns that attract attention. Generally, there are many natural resources that can be used in places where these minority groups live such as gems, gold, silver shells and animals' horns, bone, teeth and the like. Headdress includes combs, loops, hairpins and other similar articles. Second, nature is a very fundamental part that people rely on for existence and development. The production and living that people need in life all depend on nature. The design of accessories is made from animal forms and patterns of clothes are presented through embroidery and wax printing. Designers always tried to add natural elements to their works. Third, symbolism consists of two aspects: One is the people's imagination, which related to actual materials, and the other is the product of imagination that provides better conditions to inspire people when they design. In China, most minority groups believe in Buddhism. The symbols in the clothing show their devout faith. Even the method of wear has many special implications like the use of accessories and length of clothing. The pattern of dragons and use of golden, red and other colors all have a proper symbolic significance in modern designs.

• 복식문화연구
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• 제24권5호
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• pp.670-686
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• 2016

The purpose of this study is to delineate and analyze the expression of the kidult and its characteristics and thereby provide data to be used for fashion design in various manners as well as to suggest creative and varied possibilities of fashion design. As a way to study, the author of this paper organized the general terms, concepts and definitions concerning the kidult in the previous papers and journals. The data was collected from the collections represent the characteristics of kidult especially from 2006 to 2015. The results are as follows: Firstly, The characters stimulating the innocence of children were used the most for infantile expression. Parody used characters in the movie or famous logos. Deformation was used to create designs by way of distortion and deformation. Exaggeration thereby showing visually strong impression and inducing surprise and unexpectedness. Depaysement was useful to let us describe concepts and enhance our infinite creativity and interests about objects using surrealistic. Secondly, Infantile characteristics used the images of toys with infantile imagination and sense of humor. Fantasy introduced objects or expressed a dream-like feeling. Unexpectedness used two-faced ideas or conflicting ideas to express conflicts, collision and an interchange with heterogeneous things, avoiding the limit of size and the simplicity of materials. Parody used jocular expressions, satire and ironic expressions to express the original image in a fun manner. Exaggeration transformed changed the structure to restructure objects in a subjective and creative manner, thereby expressing creative patterns using various subject matters by way of special modeling or distortion and transformation.

• 한국컴퓨터그래픽스학회논문지
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• 제17권1호
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• pp.33-38
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• 2011

본 논문에서는 입력 대상 이미지를 만화와 같은 영상으로 만드는 방법으로 참조 이미지를 사용하는 방법을 제안한다. 본 논문은 미리 정의된 참조 이미지를 사용하여 대상을 변형한다. 이를 위하여 통적 외형 모델(AAM)을 사용하여 대상 이미지로부터 특징점을 추출하고, 추출된 특징점과 선택된 참조 이미지의 특징점을 기준으로 대상 이미지를 와핑(warping)한다. 변형된 대상 이미지를 추상화(abstraction)한 뒤, 에지를 추출하고 명도 영역을 양자화(quantization)하는 것으로 만화와 같은 단순화된 결과 이미지를 생성한다. 과장되어 표현된 만화 스타일 이미지를 참조 이미지로 사용하는 것으로 만화의 두 주요한 특징인 과장된 표현과 단순화가 같이 적용된 결과 이미지틀 생성할 수 있다. 본 논문의 방법은 대상 이미지의 변형 정도를 조절하거나 변형에 사용할 참조 이미지를 바꾸는 것으로 다양하게 표현된 결과를 생성하는 것이 가능하다.

• 한국의상디자인학회지
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• 제20권2호
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• pp.101-115
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• 2018

The purpose of this study is to contribute to the development of the women's fashion field with the goal of creating creative and experimental fashion styles through the categorization of cases of women's fashion design expressed with Maximalism, a type of expression used in modern fashion, as well as analyzing and examining the formativeness of this style. Qualitative research was conducted through a literature review and design case analysis. The scope of this research was from 2011 S/S to 2016 F/W, and the regional scope included the women's collections from Paris, Milano, London and New York. The results acquired are as follows. Initially, exaggeration was expressed through excessively exaggerating the overall silhouette of clothing or exaggeratedly distorting certain parts of the overall silhouette. Secondly, decoration was expressed through the use of the same colors and materials and the addition of excessive details and trimmings to express an exaggerated style of clothing as well as to express a luxurious and handcrafted style of clothing. Thirdly, fusion was expressed through integrating multiple items from different cultures, deconstruction, which destroys the concept of gender and use of clothing, and fashion style that transcends time and space. Fourthly, non-structurality was expressed through differentiating multiple weight feelings applied to the left/right sides of clothing or expressing a structural designs that is asymmetrical to the upper/lower/left/right directions to create a silhouette that displays a creative avant-garde style. As examined above, it was found that the maximalism expressed in fashion after 2011 created new images and expressed maximized emotional orientations through the exaggerated use of multiple silhouettes and decorations or through the integration of colors, patterns, ages and images. Through this process, maximalism is expected to not only provide an infinite possibility to the modern fashion that pursues diversification and multiplication, but also serve as an example that represents diversified post-modernism fashion trends in the future.

• 복식
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• 제54권3호
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• pp.113-127
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• 2004

The purpose of this study is to search the spiritual root of decoration and anti-decoration culture in contemporary Japanese fashion and find the aesthetic meanings of the decoration culture inside contemporary Japanese fashion. The contents of this study are 1. surveying the historical change about the aesthetic sense of Japan. decoration culture 2. deducing the distinctive aesthetic ideology from the decoration culture 3. finding esthetically the inside meaning of 1.2. in contemporary Japanese fashion. First, the origin of decoration culture was concerned with the belief in the life after death of the Buddhism culture to represent the noble society of the Heian(평안) period and the religion of paradise after the Middle Ages. Second. this decoration culture based on two aesthetic ideologies, beautiful(염) aesthetics and lofty(숭고) aesthetics. The beautiful aesthetics implies words, such as bewitchment, elegance, dignity and brilliance which stand for the sensual pleasure and the eroticism. The lofty aesthetics that was introduced by TakeTakasi(장고) during the Heian period, had the meaning of magnificence, greatness and dignity. This could be recognized as the Confucianism ideas. Third, as the beautiful aesthetics that was the representative aesthetic ideology of the decoration culture, it was related to splendid and decorative designs, and was recognized as the beauty of brilliance and coquetry. The beauty of brilliance, as a decorative element, appeared in patterns of the traditional costume and dyeing as well as the beauty of coquetry indicated that the women's fashion in Japan had soft, feminine, and cute images, called Hawaii, by using various decorations, such as feminine details, flower patterns. ruffles. ribbons and so on. TakeTakasi's lofty aesthetics applied the beauty of exaggeration to every art form. It has influenced the form exaggeration by overlapping in traditional costumes as well as the 1970s big look and layered look in Europe fashion. Issey Miyake and Takeda Kenzo introduced the decorative play, such as transformation and a distortion, which considered refinement, bluff, and oddity of the Japanese decoration art.

• 복식문화연구
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• 제19권3호
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• pp.488-500
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• 2011

[ $D{\'{e}}formation$ ]is one of the most important cultural factor which puts people at ease and gives a sense of security. This study, in the process, analyzes the works of Moschino. Moschino's designs are rated to have approached the sublime when it comes to transforming the psychological anxiety of everyday living into a laughter. After selecting one hundred-two of Moschino's designs from the Internet Web site(www.cft.or.kr, www.samsungdesign.net), this study examines and analyzes the characteristics and types of deformation found in them. The result as follows. The examination of deformation found in Moschino designs can be classified into a transformation, distortion, exaggeration, and illusion. Transformation, a conscious change of the existing form or function, was shown as the change of an existing position, form, function and designation of a new function. Distortion, an interpretation away from the reality or a "wrong interpretation," was shown by placing opposing factors in left-right position as an extreme asymmetry. Exaggeration, always beyond the realm of reality, was shown thorough an enlargement or a magnification of a specific part and a repetition of a detail factors. Illusion, through a distortion of reality results in something that looks new, was expressed through the effects of wearing a two-pieces, an expression of details, effects of wearing accessories, and an expression of a dynamism. Therefore, Moschino has reflected the desire of homo modern to transform the existing situation through many techniques of deformation.