• 보건교육건강증진학회지
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• 제15권1호
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• pp.195-204
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• 1998

The purpose of this study was to develop cardiovascular health related percent body-fat standards that may be applied to epidemiologic investigations of the prevalence and incidence of obesity in adolescents, pediatric health screenings, and youth fitness tests. The subjects included 102 males and 80 females aged 19～22years. All subject were Honam University Students Total body fat was derived from body density which was estimated from age and the triceps and subscapular skinfold thickness measured with Lang calipers to the nearst l.0mm. Serum total cholesterol and lipoprotein cholesterol fraction(HDL-CLDL-C) were measured from blood obtained from fore arm vein after blood pressure measurement. In analyses to determine critical fat levels associated with elevated CDD(Chronic Degenerative Disease) risk factors;male and female were grouped by level of percent fat as follows: male, 〈 10%, 10-14.9%, 15-19.9%, 20-24.9%, and $\geq$ 25%;female, 〈 20%, 20-24.9%, 25-29.9%, 30-34.9%, and $\geq$ 35%. As the results of the data, the conclusions were as follows: 1. A dose respones effect was observed between blood pressure and percent body fat in males and females; in contrast, total cholesterol and lipoprotein ratios were relatively independant of percent fat among the lower four fatness group in males and the lower three fatness groups in females. 2. The percentage of subjects in the uppermost quintile for S-Bp, D-Bp, TC, LDL/H was significantly(P〈.05) greater than expected by change alone(20%) in males with $\geq$ 25% fat and in females with $\geq$ 30% fat females with $\geq$35% had even greater representation in the uppermost quintile of all CDD risk factors compared to females with 30-34.9% fat.

• 영미문화
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• 제18권1호
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• pp.53-92
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• 2018

This essay aims to examine chick lit written within the Asian American context. For the most part, the chick lit genre has been typically regarded as a site to study contemporary white women's experiences and to debate the genres' credentials as feminist literature. Though some may disagree, there is general consensus that chick lit has fallen out of vogue after reaching its peak in the first decade of the new millenium.; nevertheless, it is being revisited by readers and critics alike as it has recently re-emerged as a location upon which to examine how race and gender inform notions of national belonging and female subject formation in the twenty-first century. To this end, this essay reads Kim Wong Keltner's The Dim Sum of All Things (2004). Keltner's protagonist Lindsey Owyang is yet another twentysomething "chick" looking for love, self, independence, and success in the huge megalopolis of San Francisco. What sets Lindsey apart from the chick prototype is that she is a third-generation ABC (American-born Chinese) and issues relevant to Asian America frequently make their way into Lindsey's narrative. Though it is generally considered as standing a "few notches above the standard chick-lit fare" (Stover n. pag), I would argue that meaningful reflections on many of the major pillars of Asian American literature, history, and cultural politics are glossed over in favor of cursory musings about the daily vicissitudes of Lindsey's life. This essay thus takes to task Ferriss's claim that a "serious" consideration of chick lit "brings into focus many of the issues facing contemporary women and contemporary culture - issues of identity, of race and class, of femininity and feminism, of consumerism and self-image" (2). I contend that a close examination of Keltner's The Dim Sum of All Things discloses that the chick lit format undermines a "serious consideration" of Asian American issues by presenting in particular a highly problematic representation of race and of Asian American femininity.

• 복식문화연구
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• 제22권1호
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• pp.1-15
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• 2014

Entering the twentieth century, corsets began to disappear with the tendency of concentrating on slim bodies and youth. As corsets proceeded to be discarded, they began to be internalized as a means of controlling the body; 'muscular corset' takes hold. However, the internalized corset increasingly appears to be externalized again in contemporary fashion. This study investigates how natural body is reconstructed as socio-cultural image drawing on the relationship between the signifier and signified of corset. As for the research methodology this study conducts literature survey to investigate the internalization of corset. This study proceeds to examine the subjects of fashion collections from 1980 to 2010 and samples the outfits which represent the externalization of corset through case analysis. Through the discussion of the study, the relationship of signifier and signified in the externalization of corset is argued as follows: first, by maintaining signifier and signified of the traditional corset as underwear, aggressive eroticism of corset has been observed, second, by perceiving corset as the agency of the body, fetishism of corset dissociates the function of sexual object from corset while distorting the relationship of signifier and signified, third, through embodying the notion of muscular corset literally, the ironical representation of corset as a torturing device of female body deconstructs the traditional relation of signifier and signified of corset.

• 한국의상디자인학회지
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• 제6권2호
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• pp.35-47
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• 2004

Hair style is an expression of beauty for individuals and at the same time a clear social representation. It may be regarded as a means of knowing social recognition about social values and groups of the moment. The hair style clearly discriminated so-called the new woman, emerged during Chosun's modernization, and the old woman. Thus the purpose of this study is to examine changes in social recognition about the behavioral style of the new woman by relating them with women' s movements and with changes in female education policies. Results of the study can be described as follows. First, the new women in the 1920s were evaluated positive as those who were leading struggles against Japan and enlightenment campaigns. But between the 1920s and the 1930s, those women were thought to be negative in that they were appearance-oriented, extravagant and sticking themselves to reality. Second, how a variety of social figures recognized short-hair was determined here through reviewing the mass media of the 1920s. At that time, some men were positive about short-hair like feminists while others denied the convenience of the hair style in life and were negative about the new women's individualism and pursuance of luxurious appearance. Third, there were both positive and negative social recognitions about short-hair in the 1930s. which were supported by the mass media of that time.

• ETRI Journal
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• 제32권5호
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• pp.784-794
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• 2010

Automatic facial expression recognition has many potential applications in different areas of human computer interaction. However, they are not yet fully realized due to the lack of an effective facial feature descriptor. In this paper, we present a new appearance-based feature descriptor, the local directional pattern (LDP), to represent facial geometry and analyze its performance in expression recognition. An LDP feature is obtained by computing the edge response values in 8 directions at each pixel and encoding them into an 8 bit binary number using the relative strength of these edge responses. The LDP descriptor, a distribution of LDP codes within an image or image patch, is used to describe each expression image. The effectiveness of dimensionality reduction techniques, such as principal component analysis and AdaBoost, is also analyzed in terms of computational cost saving and classification accuracy. Two well-known machine learning methods, template matching and support vector machine, are used for classification using the Cohn-Kanade and Japanese female facial expression databases. Better classification accuracy shows the superiority of LDP descriptor against other appearance-based feature descriptors.

• Journal of Korean Neurosurgical Society
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• 제29권6호
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• pp.815-821
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• 2000

Parasplenial arteriovenous malformations(AVMs) are rare vascular malformations which have distinct clinical and anatomical features. They are situated at the confluence of the hippocampus, isthmus of the cingulate gyrus and the gyrus occipitotemporalis medialis. These lesions are anterior to the calcarine sulcus and their apex extends towards the medial surface of the trigonum. Posterolaterally, these lesions are in close proximity to the visual cortex and optic radiation. The objectives in the surgery of parasplenial AVMs are complete resection of the lesions and preservation of vision. These objectives must be achieved with comprehensive understanding of the following anatomical features :1) the deep central location of the lesions within eloquent brain tissue ; 2) the lack of cortical representation of the AVMs that requires retraction of visual cortex ; 3) deep arterial supply ; 4) deep venous drainage ; 5) juxtaposition to the choroid plexus with which arterial supply and venous drainage are shared. A 16-year-old female student presented with intraventricular hemorrhage from a right parasplenial-subtrigonal AVM. The lesion, fed by posterior cerebral artery and drained into the vein of Galen, was successfully treated by the inter-hemispheric parietooccipital approach. To avoid visual field defect a small incision was made on precuneus anterior to the calcarine sulcus. In this report, the authors describe a surgical approach with special consideration on preservation of visual field.

• 패션비즈니스
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• 제6권2호
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• pp.137-150
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• 2002

The purpose of this study attempts to analyze the symbolism and fashion image of Barbie doll. It is scarcely a coincidence that the Barbie doll was developed in the united States in 1950s. She had been created in the 1950s as a cartoon character in a German newspaper, who named Bild Lilli. In 1959, toy company bought the rights and produced and almost identical doll in the United States. Therefore Barbie has symbolized the consumer culture of United States, ideal body image, and modern youth culture. It may be as a conclusion that Barbie's fashion can be divided into three period : 1. a period of classic fashion(1959-66), 2. a period of young casual fashion(1967-79), 3. a period of ethnic and career fashion. Just as Barbie's roles and clothes have changed with the spirit of the times, she is a valuable representation of female images and fashion over the last 40 years. Barbie's fashion image is divided into material girl image, dream girl image, and bad girl image.

• 영어영문학
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• 제59권4호
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• pp.511-526
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• 2013

Focusing on Anna Katharine Green's Amelia Butterworth series and Agatha Christie's Miss Marple mysteries, this paper aims to examine the contradictory representation of a detective in spinster detective fiction. The spinster detective fiction reveals distinct ways of representing a female detective from the earlier woman detective fiction. Unlike the earlier woman detective represented as submissive and desperate for survival, a spinster detective is a wealthy, intelligent, brave, and independent woman from an upper class family. Since a spinster detective's attributes honor such masculine qualities as independence, intelligence, courage, and capacity for leadership, the spinster detective fiction has a possibility to threaten the established patriarchal authority. The possibility of gender disruption in the spinster detective fiction is, however, contained by the spinster's marginal position in the patriarchal system. Since a spinster exists outside the normal expectation of a woman's life in patriarchal society, a spinster detective creates no conflict with the dominant gender ideology. Furthermore, a spinster detective is represented as a conservative elderly woman expressing reactionary views on social, political issues including women's problems. The spinster detective fiction reinforces the established gender norms rather than challenges and questions them.

• 영미문화
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• 제17권2호
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• pp.1-27
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• 2017

My aim in this paper is to provide a clear view of Victorian gender ideology and highlight the role played by Browning's dramatic monologues in the challenge against the strict patriarchal codes of the era. Laura Mulvey's Male Gaze theory in cinema is especially useful for understanding Browning's most well-known dramatic monologues, "Porphyria's Lover," and "My Last Duchess," because these poems are structured by polarities of looking and being looked at, the active and the passive. In her 1975 essay "Visual Pleasure and Narrative Cinema", Mulvey introduced the second-wave feminist concept of "male gaze" as a feature of gender power asymmetry in film. To gaze implies more than to look at – it signifies a psychological relationship of power, in which the gazer is superior to the object of the gaze. She declares that in patriarchal society pleasure in looking has been split between active/male and passive/female. Browning's women are subject to the male gaze, but they refuse to become the objects of a scopophilic pleasure-in-looking. Porphyria and the Duchess don't exist in order to satisfy the desires and pleasures of men. They reveal themselves as an autonomous being - reserved in Victorian gender dynamics for men. Mulvey advocates 'an alternative cinema' which can challenges the male-dominated Hollywood ideology. It is possible to say that Browning's dramatic monologues correspond to Mulvey's 'alternative cinema' because they show a counterview in terms of the representation of woman against the Victorian patriarchal ideology.

• 한국의류학회지
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• 제48권3호
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• pp.397-416
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• 2024

This study investigated gender characteristics in contemporary virtual fashion design, focusing on avatars and genderless fashion in recent collections from Auroboros, Republiqe, Placebo Digital Fashion House, RTFKT, and Tribute. Employing content analysis within a theoretical framework of gender-related research, the study coded virtual avatars in terms of biological sex, appearance, and sociological perspectives. The results showed a preference for female-type avatars, through which androgynous aesthetics were embraced and traditional gender norms were challenged. Male-type avatars reflected experimentation with blending masculine elements, emphasizing inclusivity. Human-like avatars indicated a preference for designs that promoted inclusivity and, in the process, challenged binary classifications. The examined brands strategically capitalized on compromise, sensuality, and playfulness, thereby breaking away from traditional values to opt for more diverse styles. Genderless features combined elements from traditional men's and women's clothing, espousing sensuality and playful exaggeration. These findings signify a dynamic shift away from conventional gender standards to foster inclusivity and experimentation. They can serve as a reference for promoting creative strategies and design innovation, challenging the traditional gender perspective in the fashion industry. Implementing these strategies can lead to a more inclusive representation of fashion styles, encouraging critical thinking about gender norms.