• The Plant Pathology Journal
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• v.15 no.2
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• pp.127-130
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• 1999

Cytological changes of cowpea root at the early stage of root nodule formation (within 5 days after inoculation) were viewed by light and electron microscopy. The root region affected by the rhizobial infection, which was composed of a redial array of cortical cells, had prominent cell divisions, mostly anticlinal in the inner cortical cells and in addition oblique and periclinal in the outer cells. An infected root hair cell (or root hair-producing epidermal cell) had numerous infection threads and degenerated cytoplasm. Module meristem was formed adjacent to the infected root hair cell, and characterized by dense cytoplasm, prominent nucleus, numerous small vacuoles, and increased plastids, containing infection threads as well. Bacterial cells were dividing inside the infection thread, the wall materials of which appeared to be dissolved ad accumulated in small vacuoles. inner cortical cells contiguous to the nodule meristem appeared to be actively dividing and dedifferentiating; however, they were not infected by the rhizobia. These structural characteristics are similar to those in the Bradyrhizobium-soybean association previously reported, and may reflect the similar cytological process in cowpea in the early nodule formation.

• Archives of Plastic Surgery
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• v.48 no.4
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• pp.353-360
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• 2021

Background Despite evidence supporting the safety of breast implants, some women associate their implants with adverse health effects and have called this syndrome "breast implant illness." We sought to characterize breast implant illness symptoms and to report how implant removal affects their symptoms. Methods An anonymous 20 question survey was administered to the Facebook group: "UTAH Breast Implant Illness" to characterize the symptoms these women attributed to their breast implants. Several questions allowed us to evaluate how implant removal affected women's symptoms. Results Of the 182 respondents, 97% report that implants negatively affect their health and 95% identify these symptoms with breast implant illness. Ninety-six percent of respondents had implants placed for cosmetic reasons and 51% had silicone implants. The most common symptoms associated with breast implant illness are brain fog (95%), fatigue (92%), joint pain (80%), and hair loss (74%). Sixty percent of respondents learned about breast implant illness from family/friends and/or social media platforms (56%), 40% of respondents had their implants removed, and 97% report relief of their symptoms post-removal (23% complete, 74% partial). Following explantation, there was a significant improvement in all but one reported symptom. An association was found between the number of symptoms reported prior to explantation and the number of symptoms resolving following explantation. Conclusions Breast implant illness is a syndrome characterized by fatigue, decreased focus, hair loss, and joint pain after the placement of breast implants. Nearly all patients report improvement of symptoms after implant removal. Significant efforts should be made to better understand breast implant illness and its etiology.

• Journal of the Korean Home Economics Association
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• v.35 no.5
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• pp.177-194
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• 1997

This study attempts to explore urban married women's needs for consumer information contents. In addition, the causality of the needs for consummer information contents and related variables is investigated. Major findings are the following: (1) Respondents' need for information on“the product selection”and “the use and management”of the washing maching or hair dryer is high, while the in need for the information on“the existing brands”is very low. (2) Among several relevent characteristics, respondents' product involvement is strongly related to the needs for consumer information contents. (3) The results of the analysis of casual model from washing maching showed that respondents' age, purchasing experience, perception of the price dispersion and quality difference, self confidence in the product evaluation affect on the need for consumer information contents directly. While respondents' income and education level show a indirect effect. (4) The results of the analysis of causal model from hair dryer showed that respondents' perception of the price dispersion, quality difference and product complexity affect on the need for consumer information contents directly. While respondents' age, purchasing experience, self-confidence in the product evaluation show a indirect effects.

• Fashion & Textile Research Journal
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• v.5 no.1
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• pp.25-33
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• 2003

Rococo, which is represented as immoderate pleasure and luxurious aristocratism, had required to be liberal and unconventional in art and life, and the hairstyles were also much more fantastic, huge, and splendid than ever. Women's hairstyles in the early 18th century were the relatively simple style of Pompadour style that didn't inflate hairs and combed them backward. Then, as changes in haristyles began to appear in around 1760, the styles became gradually higher and huger, and very queer styles also appeared. In the 1780s, they ornamented these hairdos by using various things. This can be considered as women's behaviors that showed off their status and wealth instead of their husbands. Although men's hairstyles were not as huge and decorative as women's, wigs were worn frequently. Wigs became smaller and simpler than those in 17C, and while wearing them, they made wigs whitened by spraying hair-powders enough not to recognize their ages. Several names such as Pig tail, Ramilleis, Bag wig, Brigadiere, and so on existed, according to the way to tie the wigs. Somewhat exaggerated men's hairstyles were shown by Macaronis in 1780s. However, this can be regarded to reflect the situation of the age.

• Fashion & Textile Research Journal
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• v.11 no.5
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• pp.701-708
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• 2009

The study aims to investigate women's clothes described in Gilsang-Cheonyeo-Sang in Nara period of Japan to gain a clear understanding of the clothes of the ruling class women at that time. Gilsang-Cheonyeo-Sang was made in Nara period of Japan when Japan sent envoys and students to Tang, a dynasty of China, to acquire advanced civilization. At that time, Japan also fostered a strong international culture through the exchanges with neighboring nations. With this inflow of continental culture, Japan was dramatically advanced politically, socially, and culturally. The analysis of the clothes of Gilsang-Cheonyeo-Sang showed that she had her hair decorated with Bogye. She wore Ungyeon, Baeja, Daesui, and Tongsui as for her upper garment and Gun, Seub, and Peseul as for her lower garment. She also wore Bidae and Youngeon and put on Geummal and Seok on her feet. Overall, these results suggested that she wore Chinese style clothes. The clothes of Gilsang-Cheonyeo-Sangwere very similar to formal dresses of high class women described in Yangroryeong. Some of her clothes were not shown in Yangroryeong because those clothes were added after Yangroryeong. Another reason may be due to the fact that generalized clothes could be worn even though those clothes were not described in the dress code. In conclusion, the clothes described in Gilsang-Cheonyeo-Sang suggest that they were based on the dress code of Nara Period of Japan while there were also some variations due to the cultural circumstances at that time.

• The Research Journal of the Costume Culture
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• v.8 no.6
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• pp.915-929
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• 2000

As a result of research, the character of the general dress-costumes from the late 17th century to the early 18th century in Genre Paintings of DuSeo Yun and YoungSeok Cho is as follows. Firstly young women wore braided hair at the back of head and married women wore hair in the style of Unjeun-mori with Gache. The length of Jeogori (Korean traditional jacket) covered waistor shortened to waist length. The width of Jeongori was suitable, because side-seam line was straight or oblique as it comes into inner line. The width of Git was enough and Mokpan-git (shape of board) and Kal-kit (shape of knife) appeared, and sometimes used other color fabric. Sleeve was narrow and ostly folded up. Chima (Korean traditional skirt) used darker color fabric than Jeogori and the width of Chima was narrow and its length was short. Sokbaji (Korean traditional underpants) shown below were narrow and its end narrower. They were barefoot or they wore Hye (Korean traditional shoes) after putting on Beoseon (Korean traditional socks). Secondly general man's hair tie a topknot (sangtu) and put on headdres, 'Bang-lip', 'Mang-geon', hairband, 'Tang-geon' on head. The length of Jeogori became shorter from the line which covered hip to the line which covered waist. The width of Jeogori was suitable and sometimes it had a slit of side-seam line. The width of Git (neckand) was wide and the length of Git was long. 'Kal-git'appeared and it used other color fabric. The shape of sleeve was straight and narrow. They folded up their sleeves. They folded up their sleeves. They folded up their slack that look like 'Jam-bang-i'and the width of slacks was not suitable, and it was narrow. Baji (Korean traditional pants) were with or without knot, worn 'Hangjeon'(ankle band). They were barefoot and wore 'Hye'or 'Jipsin'(Korean traditional straw shoes). Thirdly a person of high birth or a low-ranked official put 'Yu-geon', 'Mang-geon', 'Gat', 'Tang-geon', 'Bok-du', 'Bok-geon', 'Whi-hang'on their head on a topknot. They wore 'Po (Shim-ui, Jick-ryeong'Jung-chi-mak, Do-po, etc)'on Baji and Jeogori. 'Po'was long and wide, it knot with 'Se-jo-dae'(string belt) or 'Po-baek-dae'(band belt). It had a slit of sideline and 'Mu'which had or had not or which were hard to confirm. The shape of sleeve was straight or very wide and its length was long. The width of Baji was wide and knotted with 'Hangjeon'and wore'Beoseon'and 'Hye'. Fourthly child's hair was short or knotted to the back of the head. The length of Jeogori reached waist line and its width was wide. It had a 'Jeogori'which had s slit of sideline. The shape of sleeve was 'Tong-su'(straight), and the length of sleeve was diverse. They put 'Baeja'on 'Jeogori'. The width of Baji was not wide. They wore them straight without or with knot, 'Hangjeon'. They were barefoot or put on 'Jipsin'.

• Journal of the Korean Society of Costume
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• v.5
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• pp.153-163
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• 1981

Since Korea opened the door to the Western World, traditional costume has changed. The factors of change are as follows: 1) Cultural diffusion by the cultural contact is the foundamental factor of the costume change. 2) The government made edicts of clothing reform. The formal dresses of government official were simplified several times, the edict was issued for men to cut off their hair, and military uniform and government officials' dresses were west-ernized. 3) The diffusion of modernized education by the missionary school accerlerated clothing change. Students were ahead of the abolition of Suege-Chima (which is a sort of veil used to conceal woman's face). 4) The change in the activity of women in society made the women's dresses more convenient for action. 5) The open class system and social agitation speeded up the rate of change. During the Yi Dynasty class distinction was rigid, but the government made the laws which abolished the class distiction.

• Journal of Multimedia Information System
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• v.8 no.2
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• pp.85-92
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• 2021

In a face, there is much information of person's identity. Because of this property, various tasks such as expression recognition, identity recognition and deepfake have been actively conducted. Most of them use the exact frontal view of the given face. However, various directions of the face can be observed rather than the exact frontal image in real situation. The profile (side view) lacks information when comparing with the frontal view image. Therefore, if we can generate the frontal face from other directions, we can obtain more information on the given face. In this paper, we propose a combined style model based the conditional generative adversarial network (cGAN) for generating the frontal face from multi-view images that consist of characteristics that not only includes the style around the face (hair and beard) but also detailed areas (eye, nose, and mouth).

• Journal of the Korean Society of Costume
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• v.61 no.2
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• pp.1-19
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• 2011

As modern society advances, women's self-consciousness and attitudes toward beautiful appearances have changed. Amid this trend, the young and slim body of adolescent girls expressed in contemporary fashion incites fantasy on continuing youth among women. In modern society, women's youth is frequently regarded as a subject of consumption and a sex product in the mass media. In this regard, the study is focused on examining desire and psychology of worshipping women's youth and beauty in connection with flapper fashion in the 1920s. In the process, the study took a look at the social and cultural background of flapper fashion and conducted an analysis on formative characteristics and aesthetic sense of flapper fashion as follows: First, the formative characteristics include a short skirt that expresses straight lined shape and the beauty of exposure, lighter clothing, thick make-up, short hair style and black or vivid colors, and they lead to exceptional and innovative aesthetic sense in flapper fashion. Flapper fashion style is focused on completely denying outdated fashion worn by women in the age right before. Second, pursuit of mature, graceful and classical beauty that had continued in previous ages has gone through complete changes in the flapper era in the name of pursuit of youth, and the flapper fashion expresses sensual image through the exposure of slim arms and legs of a young girl. In the formative characteristics, aesthetic sense of youth and sensuality inherent in the flapper fashion was generated. Third, women's free-spirited lifestyle at that time and 'aesthetic sense of freedom and amusement that reflected the speed of machine civilization could be found in the flapper fashion. Material and decoration of the flapper fashion pertained to clothing that enabled a free expression through rapid movements. Aesthetic sense of the flapper fashion generated in the process could be defined as women's internal determination to express individual and free-spirited ideas through the use of fashion when tradition and order of the old age were torn down. And this aesthetic sense is continuously affecting modern fashion design.

• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.1
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• pp.25-44
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• 2008

Geisha's gorgeous kimonos and grotesque make-up was the object of envy to Japanese women. There is a line in the movie like "Kimonos to the Geisha is the same as colors to the painter." Likewise, splendid patterns and colorful kimonos were an indispensible method or symbol for showing their artistic accomplishments. The purpose of this study is to investigate concept and origin of Geisha and their dress and decoration, analyze the dress of the people which appear in the movie, , arrange the expression of Geisha's dress as a movie costume, compare the difference of the dress by the career of Geisha and look back the disappearing aesthetic sense of Geisha. First, since Geisha appeared for the first time in Kyoto in 1751, it has become the world-wide representative of Japanese woman's images so that its existence oneself has become the tradition. Second, Geisha created fashion of various clothes, adornments, and hair styles as a creator of the popularity. Third, the strict regulation without exception is applied in Geisha's clothing, make-up, and motion tuned Samisen, Japanese traditional strings, and there is some difference in their hair style and dress by age of Maiko. Fourth, it is famous for unique make-up that Geisha makes up their faces, necks, and shoulders white, newly paints eyes, nose, lip line like drawing a picture in a pure white paper. Geishas put a little make-up as they have a higher position. Fifth, a heroin, Chiyo, shows clothing as a maid, an apprentice Geisha-Maiko- and a formal Geisha according to time flow. The length of kimono, textures, and hair decorations are longer, more splendid, and are more various as time goes. On the other hand, her make-up is lighter.