• 대한정형외과 초음파학회지
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• 제6권1호
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• pp.1-9
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• 2013

목적: 상완골 골절에 대한 비확공성 전향적 금속정 내고정술 시행 후, 초음파을 이용하여 회전근 개 상태 및 영향 인자를 객관적으로 평가하고, 초음파 검사의 유용성을 확인하였다. 대상 및 방법: 상완골 골절로 골수강 내 금속정 내고정술을 시행받고 견관절의 초음파 검사를 시행한 17례를 연구 대상으로 하였다. 평균 연령은 $55.7{\pm}18.6$세였으며, 최초 수술 후 평균 추시 기간은 $43.5{\pm}32.2$개월이었다. 전 례에서 술중 회전근개 상태를 확인하였고, 4례(24%)에서 피부절개 후 회전근 개의 파열이 관찰되어 금속 봉합나사못을 이용하여 단열 봉합술을 시행하였다. 임상적 평가는 visual analogue scale (VAS), 운동범위, Korean Shoulder Scoring System (KSS) 및 American Shoulder and Elbow Society (ASES) 점수를 측정하였다. 회전근개의 상태에 대한 초음파 검사를 시행하였고, 견관절 기능에 영향을 미칠 수 있는 방사선학적 유합 시기, 금속정 근위 첨부 돌출 및 근위 교합 나사의 이동을 평가하였다. 금속정 근위 첨부 돌출에 대해서는 방사선학적 검사와 함께 초음파적 검사도 병행하였다. 결과: 최종 추시시 VAS는 평균 $1.65{\pm}1.84$, 운동 범위는 전방 굴곡 평균 $137.0{\pm}33.5^{\circ}$, 외회전 평균 $43.5{\pm}12.7^{\circ}$, 내회전 평균 $16.4{\pm}2.0^{\circ}$이었다. KSS점수는 평균 $79.6{\pm}20.7$점이었으며, ASES점수는 평균 $83.7{\pm}17.0$점이었다. 방사선학적 평가상 전례에서 골유합을 얻었으며, 골유합 기간은 평균 $3.4{\pm}1.3$개월이었으며, 근위 교합 나사의 이동이 6례(35%) 관찰되었다. 견관절 초음파 검사상 회전근 개는 정상 8례(47%), 굴곡변화 4례(24%) 및 부분파열 5례(29%)가 관찰되었으나 완전파열은 관찰되지 않았다. 금속정 첨부 돌출은 방사선 검사상 8례(47%), 초음파 검사상 총 11례(65%)에서 관찰되었고, 고령의 환자에서 호발하였다(p=0.038). 회전근 개의 굴곡 변화 및 부분파열은 첨부 돌출과 관련이 있었으나(p=006), 술전 파열의 봉합여부와는 관련이 없었다(p>0.05). 결론: 금속정 삽입술시 회전근 개 손상을 피하기 위하여 금속정 첨부의 연골하골 내 적절한 함입을 요하며, 초음파를 이용한 경과 관찰은 단순 방사선 검사상 파악하기 곤란한 금속정 첨부의 돌출 및 회전근 개 손상을 확인할 수 있는 유용한 진단 및 평가 도구가 될 수 있을 것으로 판단된다.

• 감성과학
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• 제16권4호
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• pp.517-526
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• 2013

본 연구는 스마트 포토닉 의류 중 발광 의류에 적용될 수 있는 유연 광섬유 직물 디스플레이의 구현 방식을 고찰하였다. 유연 광섬유의 가공방법, 직물의 디스플레이 반사구조, 광원 색채에 따른 고유 휘도를 비교 분석하고, 이를 토대로 발광효과가 높은 광섬유 직물 디스플레이의 최적의 조건을 도출하고자 하였다. 광섬유가공방법은 '직물화전 에칭(Pre-etching) 방법'과 '직물화후 에칭(Post-etching) 방법'을 비교하였고, 직물의 디스플레이 반사구조는 '백색 직물(White Fabric)'과 '재귀반사 직물(Reflective Fabric)'을 사용한 두 경우를 비교하였다. 광원 색채는 RGB(Red, Green, Blue)의 휘도값을 비교함으로써, 유연 광섬유 가공방법과 배면소재에 따른 휘도값 차이를 광원 색채별로 비교 분석하였다. 분석 결과, 유연 광섬유의 가공방법과 직물의 디스플레이 반사구조의 두 직물화 방식의 변인 중 유연 광섬유의 가공방법이 직물의 디스플레이 반사구조보다 더 지배적인 영향을 미치는 것으로 나타났다. 유연 광섬유의 가공방법 중에서는 '직물화후 에칭' 방식이 '직물화전 에칭' 방식보다 광섬유 직물의 발광효과를 높이는데 좀 더 주요한 것으로 나타났고, 직물의 디스플레이 반사구조에서는 전반적으로 '재귀반사 직물' 배면이 '백색 직물' 배면에 비해 유연 광섬유 직물의 발광효과를 높이는데 더 효과적인 것으로 나타났다. 유연 광섬유 직물 디스플레이의 발광효과를 높이기 위한 최적의 구현 조건은 유연 광섬유의 '직물화후 에칭' 방식과 '재귀반사 직물'의 배면 배치가 조합되는 경우인 겻을 알 수 있었다.

• 복식
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• 제63권4호
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• pp.56-69
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• 2013

This study studies the fabrics from excavated 17th century tombs of Mrs. Min from Yeoheung family(1586~1656), Yeo-on Kim(1596~1665) and Won-rip Choi(1618~1690) and attempts to clarify the relationship between the fashion trend in fabrics of those times and the background behind it by viewing and examining the proportion of twill fabrics to the total silk fabrics and the characteristics of its weave and patterns. Looking into fabrics from the above tombs, twill fabrics accounted for 10.4%(13 pieces) 19.3%(16 pieces) and 9.2%(9 pieces) of total silk fabrics in each of the respective tombs. This forms a remarkable contrast with the fact that there was only one piece of twill silk fabrics(0.5%) and not any from the 16th century tombs of Mrs. Yoon from Papyeong family (0.5%) and Soo-ryoon Sim(0%). In particular, the percentage of hwamun-neung(patterned twill fabrics) in each of the tombs is 8.0%(10 pieces), 13.3%(11 pieces), 9.2%(9 pieces), which is much higher than that of non-patterned one. This is common to the twill fabrics from above three 17th century tombs. Patterns of hwamun-neung(patterned twill), simplified small flower patterns or geometrical figures, from the three excavated tombs are mostly arranged sporadically with blank space. It is supposed that these figurative characteristics reflected the aesthetic sense of the gentry at that time which valued simplicity and moderation for their Confucian standard. This phenomenon of increased use and production of twill fabrics in the 17th century resulted from different factors such as wars like Japanese Invasion of Korea(1592~1598), economic difficulty, government regulations against the production of high-class fabrics, development of weaving skill and its fixation, changes of fabric production environments, and changes of aesthetic sense preferring naive and moderate things to showy ones. As for the weaving characteristics of twill fabrics from the three 17th century tombs 3 leaf warp-faced twill was often used for the ground texture and 4 leaf warp-faced one was occasionally used. For pattern texture 6 leaf weft-faced twill was frequently used, 4 leaf weft-faced twill and 3 leaf weft-faced twill were used at times, and floating one was occasionally used as well.

• 한국의류학회지
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• 제11권2호
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• pp.37-55
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• 1987

Pasul (Herein after referred to Korean-styled Pasul) to cover up the secrets, which has originated from Bool-an original mode of clothes is to put around a belt with a kind of towel. With the development of culture, it has been handed down the parts of ornamental and symbolic functions, losted its particular and original one. In general, we cannot exactly show when the Pasul has been used as a ritual dress, but, dare to maintain in this thesis, which has been used in Koguryu era. This thesis is summarized as follows: 1. The Bool, which is the first dress of all has its origin in the prehistory, and gradually has developed to a ceremonial dress with the help of man's intelligence. 2. Korean-styled Pasul has continuously been handed down from generation to generation (to adding up, from Koguryu era to Yi dynasty). Today, the color of the Pasul is known as a pink one, but I, herein, would like to refer that king Kojong in Yi dynasty had on a yellow-colored Pasul. 3. With becoming to be a form of ceremonial dress, the Bool has become to be complicated in style. For example, in the Koguryu era, the style is in the form of 'U,' and in Koryu era, it is the echelon formation tinting a pink color and weaving a mountain and flare shaped designs, and its dimension, the upper is one ja (a ja means a unit of length, 0.33 M), the lower, two ja, its length three ja. The Bool of Yi dynasty tints a pink color, and weaves a seaweeds, rices, axes and shaped designs. The Pasul which King Kojong in Yi dynasty put in, was a yellow-colored one weaving dragons and fire shaped design. 4. The Pasul is a ceremonial dress used a ritual or court dress. The purposes of wearing it are to distinguish the upper from the lower classes, to make them abide by regulations, and to respect courtesy. Accordingly, the Pasul. as the dress for special occassions does make us review the old and learn the new. 5. The reason that Pasul has been handed down are: 1) richness and fecundity. 2) symbol mark to represent classicalism. 3) to symbolize the authority by putting on it, for it is necessary to distinguish the upper from the lower classes along with the class consciousness in society. 6. On the basis of the study, the Pasul transition is to be handed down the function of the ornament and symbol. after losted its original functions, with the development of culture.

• 보존과학회지
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• 제30권3호
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• pp.307-315
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• 2014

직금직물은 금사를 이용한 섬유공예 기술로 삼국시대부터 고려시대와 조선시대까지 이어져 온 공예기법이다. 이와 같은 금사 공예 기법은 우리나라의 문헌기록에서 다양하게 기록되고 있으나 영조 9년 문직기의 철폐와 더불어 현재 금사 제작 기술은 단절된 상태이다. 현재까지 이뤄진 전통 금사에 대한 연구는 주로 보존처리를 위한 세척 및 강화 등이 주로 이루어졌으며 전통 금사의 복원과 재현을 위해서는 재료와 제작기법의 규명이 필수적으로 요구된다. 금사는 금박과 접착제, 배지로 이루어지며 특히 접착제의 경우 외부에 노출되지 않기 때문에 이에 대한 연구가 어려운 실정이다. 본 연구에서는 금사의 각 층을 이루는 재료의 특성을 비교하기 위하여, 문헌과 국외 금사 제작 공방 조사를 토대로 순금 및 가금, 아교 및 옻칠, 다양한 조건의 한지를 선정하여 의사 시료를 제작하였다. 각 재료별 형태적 특성과 안정성을 평가한 결과, 금박은 순금, 접착제는 아교, 배지는 도침지가 가장 적절한 것으로 확인되었다. 전통 금사의 복원과 현대화를 위해서 본 연구를 토대로 하여 향후 제작 기법 및 제직 기법 등에 대한 연구가 필요할 것으로 판단된다.

• 복식
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• 제60권4호
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• pp.113-125
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• 2010

This study is purpose to trace a genealogy of Rainbow stripe in 30 ethnic costumes in East Asia. And with through comparative views between Korean and the other minority that is shown a bilateral relation of rainbow stripe in their costume, we make sure the unique character of rainbow stripe in Korean traditional costume. The stripe in the costumes was generally used on sleeves with 3~6 patches. There were 10 types of methods for making the stripe including sewing. Weaving and sewing with trimming was also frequently used either and the stripe by weaving with multicolored yarns were mostly found in the southern region of china. Black, blue and red were frequently used in the costume as a main color that was contrasted with rainbow stripe and especially, black was mostly used. Korean preferred bright colors as a main color. Contents of the genealogy of the multicolored stripe in ethnic costume in East Asia are followed. The 28 ethnic groups who used the stripe in their dress except Korean, the Mans, Mongo people and Tibetan were located in the southern region of East Asia. And the other ethnic groups distributed in the northwest and northeast region of East Asia. The distribution of the rainbow stripe in the costume could be grouped into two sections: the southern region people and Korean-the Mongol people-the Tus- the Zangs group. And the latter group was shown strong relation with the culture of Korean's rainbow stripe costume. 11 ethnic peoples including Korean, the Vis, the Miaos, the Tus, the Mongol people, the Chaoxians, the Zangs, the Lahus, the Jinuos, the Hanis, the Luobas and the Dulongs, were saliently used the stripe in their costume. The stripe in Japanese costume was judged that was not a kind of the rainbow stripe was shown the other ethnic groups, was a color arrangement by layered dress or geometrical pattern. From above, we could recap a particular characteristic of the rainbow stripe in Korean traditional costume. Many colors were used in the stripe and bodies than the other ethnic people and the color was bright. In many cases, a color of patch at the point of armhole was red and Black color was not used in the stripe. The width of patch was a relatively narrow and regular. It has shown that the rainbow stripe in Korean traditional costume was organized independently.

• 천문학논총
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• 제25권4호
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• pp.129-139
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• 2010

The Cowherd Star and the Weaving Maid Star have been famous stars in East Asian countries. Nowadays Altair is defined to be the Cowherd Star in public materials including science books, mass media, public outreach programs, and movies played in public planetariums and science museums. However, in astronomical books and star-charts in history, the Cowherd Big Star (牽牛大星) has been known to be Dabih or $\beta$ Cap in the constellation Capricorn, and the asterism Cowherd consists of six stars including Dabih. Since the same title is given to the different objects simultaneously, considerable misunderstanding and confusion among the public have occurred. In this paper we consider this problem in two aspects. One aspect is which star has been defined to be the Cowherd Star in ancient literatures; the other is which stars were regarded as the Cowherd or the Cowherd Star in the historical records of occultation or conjunction in History of Koryo, Annals of the Choson Dynasty, and Daily Records of Royal Secretariat of the Choson Dynasty. As a result, we see that Altair has been regarded as the Cowherd Star in folklore and literature, but Dabih has been defined to be the Cowherd Big Star in astronomical works. An explanation proposed by previous researchers on the reason why such double meanings have been appeared is introduced. In the explanation, the fact that the Altair was defined as the Cowherd Star in ancient times had not been handed over properly, and the name of Cowherd was later put to the Dabih and its surrounding five stars to form one of 28 lunar lodges. Based upon these facts, we suggest the following ideas: (1) Altair should be introduced to be the Cowherd Star in public-friendly programs, and Dabih should be noticed to be the Cowherd Big Star in the field of history of astronomy. Dabih should be added as the astronomical Cowherd Big Star in academic books such as a dictionary of astronomical terminology. (2) The Korean pronunciation for Altair should be al-tear instead of al-tairu in accordance with the definition in the astronomical terminology dictionary compiled by the Korean Astronomical Society.

• 한국지역지리학회지
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• 제3권1호
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• pp.135-154
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• 1997

본 연구는 안동지역 삼베수공업산지의 존립기반 즉 생산유통체계의 변화 및 경영특성, 그리고 산지내 사회적 분업과 지역 분화의 실태를 분석하였다. 안동 삼베수공업은 1970년대 고도경제성장기의 극심한 쇠퇴기를 거쳐 1980년대 후반 이후 소득수준 향상에 따라 1970년대 초반 수준으로 회복되면서 일정수준을 유지하고 있다. 생산유통체계는 종래 일괄생산체계의 "소상품형"에서 1980년대 후반 이후 품질 및 생산공정 개선노력과 생산연령층의 노령화 그리고 기존 제품판매체계의 기능약화로 생산공정상의 사회적 분업을 중심으로 생산유통체계가 변화하였다. 산지내 사회적 분업은 대마 재배와 제사 및 직조 공정간, 나아가서 부분적인 수공업적 공정상의 분업 그리고 생산과 제품 판매간의 크게 3부분에 걸쳐 이루어지고 있다. 이중에서 강산과 제품의 유통 판매간의 분업은 활성화되지 못해 신제품의 기획 개발 및 판로개척을 선도할 수 있는 업체가 정착 발달하지 못하고 있다. 지역 분화의 특징으로는 과거 전지역에서 보편적으로 이루어지던 생산이 특정 지역에 한정적으로 이루어 곁과 동시에 지역간 생산유통체계상의 차별성에 기초하여 지역간 연계가 강화되었다는 점을 들 수 있다. 지역분화의 원인으로는 대마재배의 지역 특화와 노동력 이용방식에 있어서의 차별성을 들 수 있다.

• 한국산업보건학회지
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• 제5권1호
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• pp.16-39
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• 1995

From July 8 to September 2 1994, asbestos exposure level among asbestos textile workers was surveyed. Six plants out of plants in Korea were selected for this study. In addition to the exposure level, the relationship between the level of exposure and some factors affecting exposure were studied. Also, using historical data of asbestos concentrations in asbestos textile plants plus current data, trend of asbestos exposure level could be introduced. Historical exposure level was estimated on the basis of these data. The main results of this study are follows. 1. Average concentration of all six plants surveyed was 1.54 f/cc, and range of those concentrations was 0.03 - 11.58 f/cc. The minimum average concentration was 0.32 f/cc and the maximum was 8.04 f/cc which is four times higher than the Korean standard. A wide difference of exposure level among the workers of different plants was observed. In three plants, the half of all the plants surveyed, their average concentrations exceeded the Korean standard, and those in all the plants exceeded the ACGIH TLV. 2. Among total 56 samples, 22 samples(39%) were in excess of the Korean standard, and 53 samples(95%) were above the ACGIH TLV. Among 32 personal samples, 15 samples(47%) exceeded the Korean standard, and 30 samples(94%) exceeded the ACGIH TLV. Among 24 area samples excluding a few samples collected in office area, seven samples exceeded the Korean standard, and 23 samples( 96%) exceeded the ACGIH TLV. 3. Distributions of concentrations were observed by processes. In weaving, the highest, average concentration was 4.29 f/cc, and range was 2.61 - 11.58 f/cc. In spinning, average concentration was 2.22 f/cc, and range was 0.41 - 8.93 f/cc. In carding, average concentration was 1.98 f/cc, and range was 0.23 - 10.93 f/cc, In twisting, average concentration was 1.65 f/cc, and range was 0.21 - 9.83 f/cc. In mixing, the lowest, average concentration was 0.48 f/cc, and range was 0.22 - 1.20 f/cc. 4. All the samples from basic processes of asbestos textile plants were above the ACGIH TLV. Nineteen samples(45%) out of all these 42 samples exceeded Korean standard. Fourteen samples(58%) of total 24 personal samples, and five samples(28%) of total 18 area samples exceeded the Korean standard. Considering processes, all the samples in weaving process exceeded the Korean standard and 50 did 54% of those in spinning, 40% in carding, and 27% in twisting. 5. Trend of decreasing asbestos concentrations in asbestos textile plants was observed by time. 6. Asbestos concentrations in asbestos textile plant in 1975 were estimated to be 11.0 - 92.4 f/cc.

• 복식문화연구
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• 제28권4호
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• pp.492-507
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• 2020

This study aims to develop fashion designs that combine atlas fabric with the characteristics of Uygur costume to modernize the costume of the Xinjiang Uygur. Research contents and methods are as follows. First, based on previous studies, research analysis was conducted on the cultural background, clothing characteristics, and material of Uygur clothing. Second, based on such research contents, designs combining the characteristics of Uygur costume and atlas fabric were presented. Third, to analyze the utilization of atlas fabric and examine fabric characteristics, material was gathered from collections on domestic and foreign web sites. Through field explorations of local museums in the Xinjiang area, minority group culture was observed in more detail. Based on collection of traditional clothing and analysis of its characteristics, fashion designs that apply contemporary trends were developed. General silhouettes without any restrictions to the waist and decorations made using embroidery were often used. Atlas silk, developed in China using Ikat weaving methods, is an important traditional clothing fabric of the minority group Xinjiang. Based on such data collection analysis, the produced works highlighted traditional ethnic characteristics by extracting classical patterns of atlas fabric, modifying or partially expanding them, combining them with hand knitting, and adding contemporary sensations, thus providing confirmations of the possibility of popularizing classic patterns in more practical manners.