• 한국의류학회지
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• 제32권8호
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• pp.1309-1321
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• 2008

Military style is not limited to a single period but represents various image communications related to items, synthetic images and different periodical culture backgrounds. The purpose of this study is to define the communicational function of the military style beginning from the 1st world war up to the modern days, and furthermore explain the characteristics and contents of military styles in different periods by studying the nowadays various symbols of the military style in denotative and connotative aspects. The research method is documentary studies through the literature and academic paper, and examined masters' and doctors' thesis, domestic and overseas books and fashion magazines, photographs and materials collected from the internet. As a result, first, the military style is a significant fashion code in understanding modern fashion by serving as a strong communication function representing people’s ritual through various image items called the 'military look'. Second, the meaning of the image communication through military look changed throughout the different periods. During the 1st and 2nd World war the military look supported Fascism by serving as a media representing extreme patriotism and at the same time social images like functionalism, women liberation, regulation and saving. During the cold war period it was used by young progressives like hippies and punks to send an opposing message towards war and commercialism. Since then up to the 80s it was a medium representing the ‘new role of women’, who possess same social rights and power as the men. However in the 90s the military style had to go through a paradigm transition period. Since this period it got affected by the post modernism and designers, consumers alike adopted military style to create unique beauty It can also be said that it began to be used as a pure fashion code representing intertextuality. It was rather expressed as a metonymy than a metaphor and combined with elegance and feminine factor, which contrasts to the original military concept, it now represents totally new hybrids such as difference, dissemination and varieties.

• 패션비즈니스
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• 제19권2호
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• pp.53-68
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• 2015

The Beijing Opera is one of the leading representatives of Chinese culture, which includes literature, music, dance, martial arts, and a type of performance that stems from the Chinese cultural history that is still relevant today. The purpose of this study is to develop fashion-cultural products from the Lian Pu of the Beijing Opera, a Chinese cultural tradition that receives abundant positive feedback from around the world, showing its value in both academic and practical fields. This study was carried out first as a theoretical study of the literature, definition and types of facial make up used in the Opera, as a way of examining the formative aspect. Secondly, an analysis was conducted on the main characters, 'Guan Yu' and 'Zhang Fei' of "The Romance of the Three Kingdoms", 'Li Kiu' and 'Lu Zhishen' of "All Men are Brothers" and 'Monkey King' of "Journey to West", employing the collection belonging to 'Yongqi Zhao' who is an expert on the Chinese Beijing Opera. Thirdly, two concepts were categorized, based on the analytic results of the abovementioned characters, each of which were then further categorized into three sub concepts. In regard to cultural development designs, the results of an analysis on the facial make-up color, form, and texture of the four main characters were utilized to construct the themes, "Modern Chic" and "Traditional Splendor". The simplest form that has been represented in the four figures has been applied to "Modern Chic" to show a modern image in which black, white and light blue has been used alongside the vivid red, which is a Chinese favorite, to highlight the characters. In "Traditional Splendor", which is focused on the stage art of the Opera, we see more artistic traditions and colors, to further appeal to our emotions. Traditional motifs have been applied using traditional Chinese arts, in order to develop strong and brilliant colors. The two styles of cultural products were developed in the form of women's scarves and men's ties; a total of 24 designs were expressed, using Illustrator CS6. In the final step, 4 scarves and 6 ties were produced as a sample, using high quality silk. The development of these cultural fashion products will bring an opportunity to show how Chinese traditional culture can be widely utilized in commercial market design.

• 농촌의학ㆍ지역보건
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• 제30권2호
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• pp.151-165
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• 2005

농촌지역노인들이 평소 실천해온 건강생활습관이 기능적 건강상태의 변화에 미치는 영향을 분석하여 건강상태에 바람직하게 작용하는 건강생활습관요인들을 찾아내기 위한 목적으로 경상북도 성주군의 65세 이상 노인 중 8개보건진료소권역의 3개리에 거주하고 있는 노 1,295명을 대상으로 하여 1996년 10월 한달간 1차 조사를 실시하고 3년 10개월 후인 2000년 7월과 8월에 이들에 대한 2차 추적조사를 실시하였다. 추적된 대상자는 1,014명이었다. 건강생활습관의 경우 요인분석을 통해 6개의 요인 15항목의 생활습관 문항을 사용하였다. 1차조사시 고ADL과 고IADL이었던 자만 대상으로 하여 2차 조사시 건강수준의 변화여부를 종속변수로 하였다. ADL은 단순분석결과 남자는 일반적 특성 중 연령, 경제수준, 직업, 교육수준이, 여자는 연령과 경제수준이 건강상태의 변화에 유의한 관련성이 있었다. 다중 로지스틱 회귀분석의 결과 일반적 특성이 ADL의 변화에 유의한 변수로 남자는 연령과 교육수준이, 여자는 연령과 경제수준이었다. 건강생활습관으로는 남자에서 식이요인이, 여자에서는 식이요인과 사회 참여요인이었으며, 일반적 특성을 통제하였을 경우에는 남 여 모두 식이요인이 유의한 변수였다. IADL은 단순분석결과 남자는 일반적 특성 중 연령이, 여자는 연령과 교육수준이 건강상태의 변화에 유의한 관련성이 있었다. 다중 로지스틱 회귀분석의 결과 일반적 특성이 IADL의 변화에 유의한 변수로 남자는 연령이, 여자는 연령과 교육수준이었다. 건강생활습관으로 여자만 식이요인과 스트레스해소요인이었으며, 일반적 특성을 통제하였을 경우에도 여자만 식이요인과 스트레스해소요인이 유의한 변수였다. 결론적으로 65세 이상 노인인구의 기능적 건강을 유지하기 위해서는 올바른 식이습관과 적극적인 사회참여활동 그리고 스트레스해소 등의 건강 생활습관을 유지하도록 하는 방안이 강구되어야 한다. 이를 위하여 지역사회의 보건관련기관과 주민의 참여를 통한 보건교육 및 생활습관의 개선 작업들에 보다 많은 지원과 인력개발 등의 다각적 노력이 경주되어야 할 것이다.

• 패션비즈니스
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• 제3권1호
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• pp.65-80
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• 1999

In this study, the researcher studied the historical background and the traditional culture about dress and ornament of Yunnan Province of China. The Results of the study are as follows. 1. In the Past, Derung's dress was very simple due to the influence of various factors, such as geography and history. Men wore shorts and covered diagonally a piece of cloth from left shoulders to right armpits and tied up the two ends on chests. Women covered crisscross two pieces of cloth from both shoulders to knee. 2. Achang people's dress and adornment has its own unique characteristic. Generally, men wear Jackets with buttons down the front and black trousers. Unmarried men like to wear white turbans, while most of married men usually wear dark blue ones. Women usually wear tight-sleeve blouses with buttons down the front and skirts. Unmarried women wear the hair in braids coil them on the top of their heads. They wear short blouses and trousers. Married women wear their hair Into buns and like to entwine black or blue cloth into high trubans. They wear short blouses and knee-length straight skirts. Achang knife enjoys high reputation and has a long history and an exquisite workmanship. All the men like to wear it. 3. The dress and adornment of the Lahu nationality has both the characteristic of farming culture and the style of nomadic culture of early times. Men usually wear short shirts with round necks and buttons down the front, loose-legged trousers, turbans or dark blue cloth caps Women's dress and adornment can be categorized into two styles. One is black cloth gown with buttons diagonally on the right front and waist-length slits on both sides. The edges of fronts and cuffs are edged with Silver ornaments and lace. They also wear trousers. The other is short blouse with round neck and short opening on th right front, straight skirt and colourful leggings with embroidered patterns. 4. The Hani people, men and women, old and young, like black colour and are fond of wearing black clothes. Men usually wear shirts with buttons down the front and trousers, entwining their heads with black or white cloth. The elderly people wear calottes. Women wear cloth blouses, skirts and trousers or shorts. Slight differences exist in the clothing and adornments according to region, branch and age 5. Blang people's dyeing technique with an exquisite method has a long history. Men wear dark blue long sleeve shirts with round necks and buttons down the front or arranged diagonally on the front and loose-legged trousers. Elderly men wear big turbans wdress and adornment varies greatly in different regions. 6. The Lisu people culture of dress and adornment has some unique characteristics. The styles and colours of their dress and adornment differ slightly from place to place. In the Nujiang area, Women wear black velvet Jackets over blouses with buttons arranged diagonally on the right front and long pleated ramie skirts. Men usually wear wraparound ramie gowns, with center vent, made of fabrics alternated with white and black cross stripes. They also wear cloth waistbands and trohile youngsters keep their hair short. Women's users. In the Lushui area, the dress and adornment is similar to that in the Nujing region, but women wear aprons and trousers instead of skirts. 7. The Nu people dress and adornment is simple but elegant Women are proficient in ramie-weaving. Men usually wear gowns With overlapping necks, knee-length trousers and leggings. They like to wear their hair long and entwine dark blue or white turbans. Women wear black and red vests over blouses with buttons arranged diagonally on the right front and ankle-length skirts. They also wear their hair long, make it into braids, and entwine dark blue or colourful cloth turbans. 8. Pumi men usually wear ramie shirts With buttons arranged diagonally on the right front, loose trousers and white sheepskin vests. Some also wear overcoats made of "pulu". Women's dress and adornment varies in different areas. In the Lanping and Weixi regions, women wear white short blouses with buttons arranged diagonally on the front and dark brown embroidered vests. They also wear trousers and blue or black cloth turbans. In the Ninglang and Yongsheng regions, women wear hemmed blouses With buttons arranged diagonally on the right front and drape sheepskin capes. They also wear white pleated skirts and use broad colourful cloth as their waistbands.

• 한국가정과교육학회지
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• 제25권3호
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• pp.19-38
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• 2013

본 연구는 중학생의 자아개념, 즉 일반자아, 학문자아, 중요타인자아, 정의자아개념에 따라 외모관리행동인 의복스타일추구, 화장 및 피부관리, 헤어관리, 성형 및 체형보정, 체중관리행동에 어떠한 차이가 나타나는지 살펴보고자 하였다. 특히 가정이나 학교 등의 생활 지도 현장에서 중학생의 외모관리행동은 세대 간의 의견차가 보이는 영역이므로, 이 연구를 통해 중학생의 외모관리행동을 이해할 수 있는 기초 자료를 제공하고자 하였으며, 가정교과교육을 통한 자아개념의 증진 방안을 모색하는데 기초자료를 제공하기 위해 본 연구를 시행하였다. 본 연구를 통해 얻어진 결과를 요약하면 다음과 같았다. 본 연구의 조사대상자인 중학생들은 평균적으로 자아개념이 낮아 자신을 부정적으로 인식하고 있었으며 외모관리 행동 또한 낮은 것으로 나타났다. 자신을 긍정적으로 볼 수 있는 노력과 함께 외모관리행동을 통한 자아개념의 긍정적 증진이 필요하다고 하겠다. 긍정적 자아개념을 가지고 있는 중학생들은 피부를 청결하게 유지하는 것이나 헤어를 아름답게 손질하고 가꾸는 것 등으로 자신을 나타내려하며, 옷, 신발, 가방을 잘 갖추어 입고 깨끗하게 관리함으로써 스스로의 자존감이나 개성을 표현하려고 하였다. 또한 자신을 인식할 때 공부와 학업에 대해 긍정적 태도를 보이며, 중요시되는 타인과의 관계를 원만하게 지각하고, 자신의 신체나 정서에 대해 긍정적인 태도를 보이는 중학생들은 의복에 대해 높은 관심을 가지고 자신이 추구하는 이미지를 나타내려는 행동이 높은 반면, 성형이나 체형 등 자신의 신체를 인위적으로 변경시키려는 행동은 적게 하는 것으로 나타났다. 적절한 외모관리행동은 자신을 긍정적으로 보는데 도움을 줄 수 있을 것이다.

• 정보교육학회논문지
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• 제12권1호
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• pp.9-22
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• 2008

본 연구는 Kolb의 학습양식 기반의 팀 조직 시스템의 프로토타입을 개발하는 데 목적이 있으며, 이러한 목적을 달성하기 위하여, 첫째, 시스템의 가치를 구현하기 위한 핵심아이디어와 핵심 활동, 활동을 지원하는 도구, 그리고 가이드라인 등에 대한 개발 전략을 도출하고, 둘째, 교수설계 구조모형을 바탕으로 하여 시스템을 설계한 후 인터페이스를 개발하는 것이다. 본 시스템에서 핵심적인 요소는 학습양식 검사를 통하여 효과적인 팀을 조직하는 것이다. 우선, 학습양식 검사를 통해 학습자가 자신이 선호하는 학습 환경이나 특징을 파악한 후, 다양한 학습양식을 가진 사람들이 팀을 구성하도록 한다. 팀 조직하기는 각 팀 구성원의 학습양식을 공개한 후, 이를 기준으로 하여 팀 구성원의 특성에 맞는 역할을 분담한다. 개발된 시스템의 가치와 효율성을 검증하기 위해 전문가들로 구성된 포커스그룹 인터뷰를 실시하여 시스템의 개선점을 도출한 후, 이를 반영한 최종 시스템을 개발하였다. 본 시스템은 학습자들이 언제, 어디서나 학습양식 검사를 수행하여 즉시 결과를 제공받을 수 있고, 또한 학습양식 검사 결과를 바탕으로 다양한 성향을 가진 이질적인 구성원으로 팀이 자동 구성된다. 따라서 본 시스템은 불특정 구성원을 대상으로 한 웹기반 프로젝트학습에서 뿐만 아니라, 오프라인 공간에서도 활용할 수 있을 것이다.

• 만화애니메이션 연구
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• 통권28호
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• pp.1-25
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• 2012

만화는 1990년 이후 사회 문화 전반에 디지털화가 급속하게 이루어지면서 만화의 디지털화를 이끌었고 지면에서 웹으로의 매체변화가 이동하면서 강력한 시각문화 발전하였으며 멀티미디어 기술과의 만남으로 영상문화로까지 진화하고 있다. 따라서 만화는 이제 문자문화로 보기 보다는 '확장된 장(마당, 場, fest)'으로 시각문화와 영상문화로서 다루고 더욱 넓은 의미의 만화영상으로 주목해야 한다. 연구자는 본 연구에서 빠르게 변화하는 디지털 시대에 맞춰 변화되는 만화의 현주소를 진단하고 이에 따르는 앞으로 만화가 지향해야 할 방향에 대한 이야기를 하고자 한다. 그러기 위해서 우선 만화의 디지털화와 대학에서 만화영상 전문교육을 시작했던 시점인 1990년대부터 현재의 만화영상의 장에 이르기까지의 변화들을 사례 중심으로 논의하였다. 뉴 테크놀로지와 만화의 만남에 따라 기존의 만화의 형태는 깨지고 있다. 특히 뉴 테크놀로지 기술을 작품에 적극 활용하는 작가들이 대거 등장함에 따라 만화의 내용적, 형식적 변화와 캐릭터 활용의 확장이 빠르게 이뤄지고 있다. 이러한 첨단기술의 발달은 작품에만 영향을 끼치는데 그치지 않고 감상자의 역할까지 변화 시키고 있다. 이제 독자는 적극적으로 작품에 대한 의견을 제시하고 팬덤을 형성하여 자신이 좋아하는 작품과 작가를 홍보하고 스타의 자리로 올려놓기도 한다. 더 나아가 스스로 창작물을 만들고 스스로 작가가 되는 새로운 형식의 등용시스템을 만들어 내기도 한다. 결과적으로 이러한 다양한 장르의 작가군의 형성으로 인해 새로운 이야기 텍스트 개발의 가능성과 다양한 스타일, 세계관이 등장 되면서 만화텍스트의 본질이 확장되고 있다고 볼 수 있다. 또한 만화문화, 산업, 교육, 기관, 기술 등 전반적인 만화시스템 역시 확장되고 있다. 앞으로도 만화영상은 차세대의 문화를 반영하고 매개하고 소통하는 메신저로도 공헌해 나갈 것이라고 기대한다. 오늘날의 만화는 인쇄만화와 영상만화로 구분 지을 수 없겠고, 설치개념의 만화와 더불어 블록버스터 디지털영상, 팬시용품과 서사를 바탕으로 하는 테마파크의 캐릭터 활용을 볼 때 다양한 형태와 양식으로 각 영역을 확장해 갈 것이다. 그러므로 지금보다 만화영상 교육을 다양성 있게 다각화시킬 필요가 있다. 창의적 예술 능력에 인문사회학적 기반과 뉴 테크놀로지 교육이 접목되어 문자문화와 영상문화의 감각종합형 문화 분야를 이끌어 갈 수 있는 그러한 능력을 가진 미래 세대를 키우는 것이 오늘날 우리의 과제일 것이다.

• 미술이론과 현장
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• 제5호
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• pp.43-80
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• 2007

PASKYULA was formed in September, 1923 through the union of artists involved in two art groups: Kim Ki-Jin, Kim Bok-Jin, Yeon Hak-Nyeon who had previously participated in the ToWolHoi, and Park Young-Hi, Lee Sang-Hwa, An Seok-Ju, former members of the BaeckJo. After its founding, the PASKYULA artists had been searching for the social function of art to reform the harsh reality of Minjung and the nation with criticism toward society as well as art world. Their art theory for MinJung could grow relatively ease in relation to changing social and political conditions in the early 1920s. In August, 1925, PASKYULA organized the Korea Artista Proletaria Federatio with the YeomGunSa, and laid the groundwork for Proletariat art movement which was regularized in the late 1920s. From PASKYULA up to the early state of KAPF, the theory of art advocated by Kim Bok-Jin and An Seok-Ju could be summarized as "art for MinJung". At that time, widely ranging discourses on MinJung, however, was spawned in art theory, because many intellectuals-including artists and writers-begun to pay more attention to MinJung, who emerged as one of the social forces after the Samil Independent Movement. Sometimes, MinJung was construed as the target of enlightenment from a negative viewpoint. On the other hand, several intellectuals under the influence of individualism asserted that the discussion itself on MinJung exerted an evil influence on art. In contrast of these cases, the PASKYULA artists including Kim Bok-Jin, An Seok-Ju perceived that MinJung had the potential to change society, and regarded them as "a creator of genuine civilization and art". In the PASKYULA artist's writings, the concept of MinJung was often overlapped with the meaning of the Choson nation suffering under colony. Although their concept of MinJung was transformed gradually into the proletariat as they were under the strong influence of socialism, it did not change that they grasped the realities of the whole Choson Peninsula through the proletarian consciousness. In the early state of PASKYULA, the methodology for social function of art was presented in a twofold manner. First of all, Kim Bok-Jin emphasized on the necessity of education to improve MinJung's way of life through art, and it was embodied by the organization of ToWol Art Workshop and public lecture. Also, he championed "the popularization of art", which was one of methods to distribute art to MinJung. According to the PASKYULA artists, art should be not art for art' sake but art for MinJung. That was why they advocated the convergence of art and MinJung's life. Especially Kim Bok-Jin affirmed a link between art and industry because he considered industry the field inextricably linked with MinJung's life. In this context, his idea could be read as the generalization and equalization within the framework of possession. Kim Bok-Jin thought that the social ramifications of capitalism deprived MinJung of their right to enjoy art, and emphasized the artist' social role to return the right to them. That is, the even distribution of art was mainly discussed than the contents of art in the half of 1920s. By 1925, the contents of art itself became an issue in the PASKYULA art theory, and it was based in realism. Kim Bok-Jin and An Seok-Ju insisted that art should be reflection of real life. At that time, realism acquired the representation of MinJung and the nation's realities not realistic style. In fact, the various Western art styles including Futurism, Constructivism, Cubism etc. were exploited in the PASKYULA's visual images. Western art, target of criticism on theory, was selectively adopted in the works which were produced by Kim Bok-Jin and An Seok-Ju. Kim Bok-Jin's MoonYeUnDong cover design was conceived of as the example in which Western art was adopted with it's ideology under the influence of MAVO, while Western art shown in An Seok-Ju's illustrations served as a decorative function in many cases. Especially, An Seok-Ju attempted the various styles of Western art simultaneously, which may be seen as representing that PASKYULA did not have a firm ideology for their style. Also, it can be read as showing his hasty zeal to overcome Western art rapidly. The wish to establish "art for MinJung" as soon as possible was accompanied with the will to jump over the all steps of Western art though it was superficial. This aspiration of PASKYULA was expressed through the mass media, which had the potential for communicating to MinJung. At this point, there was a significant disparity between PASKYULA and another art groups in the first half of 1920s. However, the PASKYULA's method on the basis of the mass media could not but have a certain limitation because of the medium's properties. Nevertheless, PASKYULA' attempts may be considered to be valuable in sense that they expended the boundaries of Korean modern art into the commercial art questioning the matter of the distribution for art.

• 헤리티지:역사와 과학
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• 제41권2호
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• pp.79-97
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• 2008

18세기 전반 북경에서 형성된 사왕산수화풍은 19세기에 한국과 일본으로 널리 전파되어 각국의 새로운 시대 화풍을 발전시키는데 중요한 밑거름이 되었다. 이러한 화풍은 청 문사들과 교유했던 신위나 김정희에 의해 본격적으로 전래되기 시작하였고, 그들의 영향을 직간접으로 받았던 신명연, 이한철, 유숙, 장승업, 안중식, 조석진 등이 사왕풍으로 그림을 그리면서 한국 화단의 주요한 화풍으로 자리매김하게 되었다. 이들이 그린 사왕풍 산수화에서 공통으로 보이는 특징은 고원법으로 자연 경물을 가까이에서 포착하고, 화면의 오른쪽이나 왼쪽 하단부에 배치된 키가 큰 나무를 기점으로 계류(溪流)를 건너 주산이 펼쳐지는 것이다. 하지만 최근 공개된 화원화가 안건영이 그린 <산수도> 6폭 병풍은 19세기 후반 유행했던 사왕풍을 근간으로 하면서도 경물포착이나 필법 및 색채감각 등에서 이들과는 차별화된 면모를 보여주고 있어 주목된다. 안건영의 현전 작품들은 대개 소품인데 이 병풍은 6폭의 산수화로 꾸며진 대작에 해당된다. 특히 산수의 여러 경관을 윤묵(潤墨)의 가는 필선으로 섬세하게 묘사하여 고요하면서도 차분한 분위기를 조성한 것이라든지 일부 화폭에서 조감법(鳥瞰法)으로 경물을 포착하여 거시적인 시점을 보여주는 것, 연운(煙雲)을 통해 화면에 생동감을 부여하는 것 등에서 새로운 면모를 읽을 수 있다. 이러한 화풍은 19세기 전반 강남(江南) 화단에서 사왕풍을 근간으로 하면서도 중국의 실제 명산을 돌아다니며 익힌 사생(寫生)을 절충하며 산수의 기운이나 생명력을 전달하려고 했던 왕학호, 탕이분, 대희 등의 화풍과 연관이 있는 것으로 판단된다. 따라서 안건영의 <산수도> 6폭 병풍은 19세기에 북경 화단과는 차별화된 양상을 나타냈던 강남 화단의 사왕산수화풍이 전래 수용되었다는 사실을 알려주는 보기 드문 사례로 중요하다고 할 수 있다.

• 대한간호학회지
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• 제28권4호
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• pp.1047-1059
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• 1998

Senile Dementia is one of the dispositional mental disorder which has been known to the world since Hippocratic age. It has become a wide-spread social problem all over the world because of chronic disease processes and the demands of dependent care for several years as well as improbability of treatment of it at the causal level. Essentially, life styles of the older generation differ from those of the younger generation. While the fomer is used to the patriarchal system and the spirit of filial piet and respect, the latter is pragmatized and individualized under the effects of the Western material civilization. These differences between the two generations cause conflict between family members. In particular, the pain and conflict of care-givers who take care of a totally dependent dementia patient not only is inciting to the collapse of the family union, but is expanding into a serious social problem. According to this practical difficulty, this study has tried to compare dementia care-givers' experiences inter-culturally and to help set up more proper nursing interventions, describing and explaining them through ethnographies by participant observation and in-depth interviews that enable seeing them in a more close, honest and certain way. It also tries to provide a theoetical model of nusing care for dementia patients which is proper to Korean culture. This study is composed of 12 participants (4 males, 8 females) whose ages range from 37-71 years. The relations of patients are 5 spouses(3 husbands, 2 wives), 4 daughters-in-law, 2 daughters, and 1 son-in-law. The following are the care-givers' meaning of experiences that results of the study shows. The first is "psychological conflict". It contains the minds of getting angry, reproaching, being driven to dispair, blaming oneself, giving up lives, and being afraid, hopeless, and resigned. The second is "physical, social and psychological pressure" . At this stage, care-givers are shown to be under stress of both body and soul for the lack of freedom and tiredness. They also feel constraint because they hardly cope with the care and live through others' eyes. The third is "isolation". It makes the relationship of patient care-giver to be estranged, without understanding each other. They, also, experience indifference such as being upset and left alone. The forth is "acceptance" They gradually have compassion, bear up and then adapt themselves to the circumstances they are in. The fifth is "love". Now they learn to reward the other with love. It is also shown that this stage contains the process of winning others' recognition. The final is "hope". In this stage they really want situations to go smoothly and hope everything will be O.K. These consequences enable us to summarize the principles of cue experience such as, in the early stage, negative response such as physical·psychological confusion, pain and conflict are primary. Then the stage of acceptance emerges. It is an initial positive response phase when care-givers may admit their situations. As time passes by a positive response stage emerges. At last they have love and hope. Three stages we noted above : however, there are never consistent situations. Rather it gradually comes into the stage of acceptance, repeating continuous conflict, pressure and isolation. If any interest and understanding of families or the support of surrounding society lack, it will again be converted to negative responses sooner or later. Otherwise, positive responses like hope and love can be encouraged if the family and the surroundings give active aids and understanding. After all, the principles of dementia care experiences neither stay at any stage, nor develop from negative stages to positive stages steadily. They are cycling systems in which negative responses and positive responses are constantly being converted. I would like to suggest the following based on the above conclusions : First, the systematic and planned education of dementia should be performed in order to enhance public relations. Second, a special medical treatment center which deals with dementia, under government's charge, should be managed. Third, the various studies approaching dementia care experiences result in the development of more reasonable and useful nursing guidelines.