• 동아시아식생활학회지
• /
• 제17권4호
• /
• pp.463-473
• /
• 2007

This study was carried out to investigate perceptions of body image, body satisfaction, and dietary habits of beauty art major and non-major college students in Gyeonggi province. A total of 312 self-administered questionnaires (beauty art majors=145; non-majors=167) were analyzed. The means for height, weight, and BMI were 161.7 cm, 51.4 kg and 19.7, respectively. There were more majors who were underweight according to BMI classification than non-majors. Sixty-six percent of the subjects had previous weight control experience, and there was no significant difference between the majors and non-majors. The mean score for current body image was 4.61 out of a possible 9 points in the majors, which was significantly lower than 4.95 in the non-majors, and their perception of an ideal body image was thinner than their current body image. Those with more weight control experience had currently heavier perceptions of their body. The mean score for body satisfaction was 2.60 out of a possible 5 points, which was lower than the mean score for their attitudes toward the importance of their bodies. The mean score for dietary habits was 2.80 out of a possible 5 points, and there was no significant difference with dietary habits according to weight control experience or BMI classification. In both the majors and non-majors, there was a significant positive correlation between BMI and perception of current body image (p<0.001, p<0.001), and a negative correlation between BMI and body satisfaction (p<0.01, p<0.001). In the major students, there were significant positive correlations between dietary habits and body satisfaction (p<0.01), and attitudes toward the body importance (p<0.05); therefore, the greater their body satisfaction and body importance, the higher their scores for dietary habits.

• 복식
• /
• 제57권7호
• /
• pp.53-69
• /
• 2007

Advertisements create the illusion about the ideal body utilizing body beauty as well as come to influence in formation of the social beauty standard. Commodity advertisements using the body have been considered as the most effective advertisement method because of the fluidity and the dynamic, which are understood as organic body's characteristics. Especially, advertisement strategies utilizing body painting draw customer's attention because of the properties liberally performed on the living body. This thesis attends to study on the J. Deleuze's 'becoming' Phenomenon expressed in body painting, and to analyze about the body becomes fashion and commodity and is positively utilized as effective advertisement tools. J. Deleuze's 'becoming' Phenomenon expressed in advertisement utilized body which painting is classified as follows as; becoming fashion of the body, becoming commodity of the body, becoming advertisement sign board of the body, becoming animals and plants of the body, and becoming image of the body. The result of this study on the J. Deleuze's 'becoming' Phenomenon expressed in advertisements utilizing body painting shows multiple commodity's characteristics in order to satisfy with customer's various anxieties being changed continuously, and represents the characteristics of 21C advertisements utilizing the body being changed any other thing. Consequently, this thesis is aimed at new consideration about the body beauty, which has been extended to other sphere.

• 복식문화연구
• /
• 제10권6호
• /
• pp.763-780
• /
• 2002

The aim of this research is to analyze Vionnet´s geometric features, which can be regarded as the key formative beauty among the external characteristics of her works. and to thereby establish the theory that her works emitted a time-transcending life force because they were patterns designed based on a geometrical frame of mind. To prove such argument, studies to understand the basic geometrical aspects appearing in her works will be made by taking a look at the general features of geometry, viewing Vionnet´s philosophy for designing, and examining the geometric cutting methods. The period covered in this paper will center mainly on dresses Vionnet made from her very active days in the fashion sector, 1919. till when she retired from the fashion industry, around 1939. What's outstanding about Vionnet´s geometric principle expressed in her works is the unique cutting method that acknowledges the silhouette of the human body as a cubic or three-dimensions concept, through insight of the human body, the mechanics of the materials, and geometry. Vionnet introduced a simple and elegant design by combining geometric figure cuts, such as rectan히es. quadrants, and triangles. Moreover, she created a new sewing structure that plans everything about the materials to the tiniest detail, resulting in producing a softer style With this, Vionnet showed the geometrical correlation can bring about harmony and the beauty of ideal proportion, forming the source of eternal beauty. As discussed so fu, the geometrical characteristics appearing in Vionnet´s works are marked such as spirals, zig-zag lines, asymmetries. panels, gradation, golden proportion, and the mobius-band.

• 한국엔터테인먼트산업학회논문지
• /
• 제13권8호
• /
• pp.325-334
• /
• 2019

영화 <시>를 통해 현실 그대로를 보여주고 현실 그대로이지만 눈에 보이지 않는 아름다움을 관객이 느낄 수 있도록 눈에 보이지 않는 아름다움을 어떻게 드러내느냐가 가장 중요했다는 이창동 감독은 일상의 삶 속에서 보고, 느끼며 남들이 잘 하지 않는, 남들이 하기 어려운 행동과 선택을 하는 캐릭터 미자를 통해 눈에 보이는 아름다움뿐만 아니라 눈에 보이지 않는 아름다움을 찾는, 아름다움을 발견하는 방법에 대해 이야기하며 미자가 찾는 아름다움이 어떠한 역할을 할 수 있는지, 시가 죽어가는 시대에 시를 쓴다는 것은 어떤 의미가 있는지, 영화가 죽어가는 시대에 영화를 만든다는 건 어떤 의미가 있는지 근본적인 가치를 상실한 시대에 대한 이야기, 영화매체에 대한 이야기를 했다. 누군가 말하지 못하는 것들, 누군가 표현하지 못하는 것을 대신해주는 그 어떤 것을 미자의 시를 통해 이야기하고, 배우 스스로 캐릭터의 감정을 찾아가는 연기, 그 무엇으로 규정할 수 없는 캐릭터의 성격을 통해 관객 스스로 생각하고, 질문하며 성찰하게 하는 이창동 감독의 연출 스타일을 바탕으로 본 연구는 영화 <시>의 캐릭터 미자와 배우 윤정희의 연기를 분석해보았다.

• 비교문화연구
• /
• 제25권
• /
• pp.237-265
• /
• 2011

This thesis is to argue what is the meaning of the expression of cherry blossoms appearing in "Genjimonogatari(源氏物語)" in relation with the structure of Monogatari after checking each example. First we reviewed some examples of the works before "Genjimonogatari", and clarified that cherry blossoms were used as metaphorical expressions of a beautiful woman in waka(和歌), and that at the same time cherry blossoms functioned as the symbol of futility, anxiety together with beauty. Especially in "Kokinshu(古今集)" we identified that there increased the examples where the combination of the expression as falling cherry blossoms, and fog and cherry blossoms was done. In "Genjimonogatari" we examined the examples of cherry blossoms of Chapter 1, Chapter 2, and clarified that Murasakinoue(紫の上) was a woman with an ideal character in looks and inner personality through the diverse viewpoints of characters. In Monogatari of Kashiwagi(柏木) of Chapter 2, the scene where he peeped Onnasannomiya(女三宮) was composed by the combination of cherry blossoms and fog, and we pointed out that we could feel the anxiety, ominousness of the love of the couple through this scene. And the composition of these scenes was also repeated in Monogatari of Chapter 3, and we discussed through these examples that the figurative expressions of cherry blossoms were used about the object of the love not to be realized. Next, we checked that Yugiri(夕霧) who had observed Kashiwagi's love toward Onnasannomiya gave a figurative expression of Kashiwagi's wife Ochibanomiya(落葉の宮) as cherry blossoms. Although Genji(源氏) realized Onnasannomiya's immaturity, Kashiwagi compared her to "cherry blossoms", and Yoogiri compared the woman whom Kashiwagi recognized as "Ochiba(落葉)" to "cherry blossoms", through which we have read the twisted human relation and ironical structure of Chaper 2. Finally, we checked the examples of cherry blossoms in Ooigimi(大君), Nakanokimi(中君), Ukihune(浮舟) who were Ujijujo's heroines. Ooigimi and Nakanokimi were expressed as cherry blossoms by Kaoru(?) and Nioumiya(?宮) and were disclosed as their ideal women. In contrast, Ukihune had something to do with two men with no such figurative expression, so it was pointed out that the absence of such metaphorical expression clarified that the meaning of her existence was nothing but the meaning as a mesiudo(召人).

• 복식
• /
• 제30권
• /
• pp.261-274
• /
• 1996

In the present age dominate by both cer-taingty of 1% and uncertainty of 99% 'Fuzzy thinking' of Bart Kosko that is the way to solve the problems by the scientific way through a worldview of Buddhism or Taoism greatly prevails around the world over 'Lateral greatly prevails around the world over 'Lateral thinking' and the authenticity or the right and-wrong of the uncertainty which is the thinking way to find the answer of the problems of illogical way of Edward de Beno against the western vertical thinking were Concurrently fashion designers over the world also adopt the oriental elements. But there exist differences of thoughts between the orient and the occident. And they have dif-ferent thinking way of aestheticism and references of the value on the beauty. Not only beauty but the view through the mind as intuitional thought in which not only the rec-ognition of sense but also the rationalism and the naturalness play key role. The aesthetic sense in the orient contains both the truth and virtue. 2) The beauty of the mean It's from the thought of neutralization of Confucius. The mean or moderation state which in harmony with ethical virtue and aes-thetic beauty is the ideal and is the ultimate. Therefore the thought of Confucian is the creativity in which the balance and the har-mony is most important. Fashion design is also one of the representation of the mean because the spirit of the designer is harmonized for-mlessly with the object of the model of the fashion design. 2) The beauty of skillfulness It indicates the Taoism of Lao-tzu and Chuangtzu. It takes a super-artistic declar-ation that human can feel and recognize the color of colorlessness the sound of sound-lessness and the taste of tastelessness. The thought of arts affected by Taoism is 'ad-vanced age' called the beauty of skillfulness. The view of arts of lao-tzu takes the beauty of cosmos and the nature as a standard. Es-pecially the beauty of inactivity is recognized by the linkage between the beauty and the ugliness. And these things appear in fashion design as a design element such as humor or exaggeration. 3) The beauty of non-dualism It is thought of Buddhism that all evil passions of worry occur form the opposition in dualism. Finally this thought leads to that everything is consistent and truth is only one from the point of view that virtue and vice has on linkage that is 'no virtues no vices' and 'one with two, two, with one, one is not two' A big tendency like this became the root forma-tion of the thought of the oriental arts. 3. Characteristics of the oriental aesthetic sense on the present fashion design 1) The formation of the fashion design on the oriental elements In the picture-incantation which was a representation of an era when the thought of 'cosmic dual forces' dominated the basic polygons of 'a circle square triangle' means both 'one two three' and 'the negative positive mean' of cosmic elements. From this point of view the was of planner cutting in the Orient is dif-ferent from that of the Occidental which is in three-dimensional. The planner polygon type of the cut-pieces comes to have the meaning of the three-dimension when they consist of a suit that has the combination of each cut-piece. This shows the consistency with the principle of cosmos creation of Taoism that one is two two is three and three is every-thing. 2) The coloring and the symbolic represen-tation of the fashion design on the orien-tal elements The sense on the colors in the Orient from the thought of 'the cosmic dual forces and the five elements' is not the experi-enced from the knowledge but contains the consideration of philosophy Five-primary-color representing compass directions Blue(East) Red(South) Yellow(Center) White (West) and Black (North) is called ' the posi-tive' for this five-primary-color secondary-color which comes from the compound of the primary colors is called 'the negative' The thought of 'the cosmic dual forces and the five elements' is also an theory containing the natural order of the cos-mos and this shows the perceptional differ-ence that they are not conceptual but to be recognized and fell directly. A thought of Buddhism which is 'Colors are colorlessness and Clolorlessness are color's proves that. 3) The pattern and symbolic representation of the fashion design on the oriental elements The pattern as a visual style is a figure of symbolic representation which adopt the mental and physical world of human and are the compo-sition of artistic revelation of the human nature and the religous thought of incantation. Es-pecially the symbolic representation of the oriental thought of Confusion. Buddhism and Taoism There are patterns such as plants aminals the oriental four gods and geometry. From the above it's the time toward the 21'th century when the world is constructing one global area and one historical zone. And the exotic mood of the Orient represented in the fashion which doesn't make the common feeling in general does not cease to develop only to express the visual modeling but also adopts the thought religion and the art which are the root of the Orientail and contains inherent willing of modeling.

• 한국실내디자인학회논문집
• /
• 제2호
• /
• pp.46-53
• /
• 1994

The Soubise Mansin which construction ended in the latter half of 1730s has several rooms which symbolize Rococo which appeared in the 18 century. The work of the Soubis Mansion done by an architect, Boffrand , is a significant work in which he had introduced a new style of building , Rococo, based on a style of Regency, thereby showing a big leaf in that kind of art. In other words, with the elements already established in the days of Regency-white wood panel, gold molding, mirror technique, etc. -and the characteristics of unprecedent, outstanding spatial forms and Rococo decoration introduced. Rococo had enjoyed its peak of full flourish within the moderation of being never excessively magnificent, beautiful, and dignified. It is a remarkable thing that a model of such perfect ideal beauty was suggested even in the begining state of Rococo and it is deemed that such a point resulted in such influence on other places like the Versalilles Palace, etc.

• 한국생활과학회지
• /
• 제8권1호
• /
• pp.193-210
• /
• 1999

The purpose of this study is to compare the similarity of clothing between Modern and Gothic, and between Post-Modern and Renaissance Period. The results are as followes: The beauty of ideal body was changed from unemphasis of body line to emphasis of the erotic espects of body. The style of clothing was changed from simple and functional in order to give freedom in action, to various and complicated in from, and even uncomfortable in order to emphasize individuality. Decoration on clothing like details, trimmings, and various accessories were not prefered in Gothic and Modem Period, but very popular in Post-Modern and Renaissance Period.

• 패션비즈니스
• /
• 제8권6호
• /
• pp.113-122
• /
• 2004

The purpose of this study was to examine and understand body image, appearance behaviors, and eating disturbances among females in the Diet Center. Subjects for this research were 40 females enrolled at the Diet Center in Seoul. They were interviewed for this study using an interview schedule at September in 2004. As a result, most of the subjects (87%) were dissatisfied with their bodies, especially their lower body such as hip, thighs, legs, stomach. Subjects tended to use dieting and fasting (46.3%) as the most common appearance management behaviors in relation to the body parts. Make-up (32.9%) was also used as routine appearance behaviors, while 37.5% of subjects have had cosmetic surgery on eyes, nose and liposuction. Sixty percent of subjects had participated in Diet center programs more than twice. This may mean that society pressures women to have a slim body, which then will result in more self-confidence. Subjects tend to engage in unhealthy eating behaviors, such as 'fasting', 'inducing vomit', 'using diet pills or laxatives', and 'after chewing, spit out'. Based on these results, socio-cultural body image regarding ideal beauty would be discussed.

• 패션비즈니스
• /
• 제9권3호
• /
• pp.125-133
• /
• 2005

The purpose at this study was to examine and understand shopping behaviors and body image among Korean females in U.S. Subjects for this research were 20 Korean housewives. They were interviewed for this study using an interview schedule. As a result, most at the subjects have enjoyed shopping in U.S. stores. They showed that they go shopping more often in U.S. than in Korea due to more time to shop. They considered refund policy and kind salespersons as th positive characteristics in U.S. stores, while they complained about size, quality, and style in even their favorite stores. Also, subjects tend to be dissatisfied with their bodies. Compared to how they feel in Korea, they especially feel lower body image and lower self-esteem in the U.S. Ninety percent of subjects considered their body affected their shopping behaviors. To compensate how they felt about their bodies, they responded that they limit or change clothing styles or colors when they shopped. Based on these results, socio-cultural body image regarding ideal beauty and shopping behavior would be discussed.