서유문의 〈무오연행록〉에 나타난 복식문화

전혜숙(Chun Hea-Sook) 한복문화학회 2006 韓服文化 Vol.9 No.2

〈Moo-o Yeon-hang-lok〉 was written from 9th, Oct in 1798 (22nd year of King Jeong-jo dynasty) to 2nd, April in 1799 (23rd year) by diplomatic writer Seoh, Yoo Moon who traveled to Beijing as a delegate of tributary state and it was his travel sketch and 17 years behind of Park, Jee One's 〈Yel-ha-il-ge〉 It was written in Korean and different from other travel journals written in Chinese characters. The tone of the 18 century and the mosaics of Manchu appeared therefore it is very valuable material not only to study Korean language history but also to understand and describe the costume terminology of the latter Chosen. In the Jeong-jo dynasty, a Book-hak phenomenon was acceptedin the nation that asserted thedeveloped culture of Ching as realism instead of Sino-centrism. It is possible to say that officer Seoh was affected by the Book-hak phenomenonbecause he mostly evaluated Ching cultures and civilization from the view point of realism. We, however, assume that Sino-centrism influenced much of his idea of costume from he expressed a part of disregarding Ching costume in the book. Nevertheless it was a different point of view from other travel journals whose authors absolutely ignored Ching dress in Sook-jong dynasty. He studied similarities and diversities between Chosen costume although he was more focused on Ching's. From that it is possible to read that the intellectuals of the time had positive thought on the relationship with Ching than former intellectuals. He compared Chosen's with Ching's well in his book with emphasis on the difference and resemblances of the hat styles by official rank, official dress and normal people's dress and styles. There are many similar dress styles and names, so we found that much of culture of Ching's dress was taken by the latter Chosen.

中世末期에서부터 19世紀까지의 칼라形態에 對한 考察

朴惠淑,朴惠玲 建國大學校生活文化硏究所 1987 생활문화ㆍ예술논집 Vol.10 No.-

The Collar, which is an important factor of clothing with the sleeve and waist, shows the characteristics of costume. In order to make clear the explanation of clothing as a expression and play on important role as a motive which can give an inspiration in the creation of fashion, Collar is classified at each century and the variaties of shape are investigated. A study on the shape of collar from late in the middle age to 19th century was carried out and summarized as follows. An acute angle silhouette of late in the middle developed into high standing collar and it is the most simple shape collar. Variaties of ruff collar shape harmonied with skirt width in 16th century. Lace production from late in the 16th to 17th century had on impact on creation of medici, alizabeth collar and fashioned falling band collar immediately. Redingote of a forefather in woman coat was in fashion during 18th century and this clothes have tailored collar of lapel. Clothes restoration of 19th century reappeared bateau, straight neckline and on the other hand civil society and industrial development fore suitable for each type of function. The results are summarized as follows. 1) Construction element of clothes is created and developed by culture background continually. 2) Collar is harmonied with whole spape of clothes, therefore that is important to the fashion line. 3) Collar has its fashionable characteristics in the shape, but has been always variable in one period. 4) Seen form the collar which shows an excessive decoration beyond its practical use. 5) Shape of collar makes a some differences at every period but fashion is repeated. 6) Ruff; Fichu; Pelerin collar are shape of separative collar and that have various effect on taking off and attachment of clothes.

무용수들의 불안심리에 관한 연구

신혜숙 강원대학교 체육과학연구소 2001 江原大學校附設體育科學硏究所論文集 Vol.- No.24

In order to measure a degree of anxiety according to dancing classification and carear classification during theatrical performances, this thesis has measured stage anxiety, state anxiety and trait anxiety from the target of total 119 persons who are korean dancing majors, ballet majors and modern dancing majors of senior high school girls. The results are as following that : 1.As a result of measuring the anxiety in care of the group of dancing majors, all stage anxiety, state anxiety and trait anxiety has a slight difference. 2.The results of anxiety by career of dancer show high degree anxiety of dancer who has dancing under years in korean dance, vallet and modern dance and show that there are no significant meanings.

만다라의 藝術的 照明

복해숙 동국대학교 불교대학 1998 東國思想 Vol.29 No.-

At present we are encountering the word Mandala in various fields beyond the religious realm of the Orient. Though there have been intensive studies Mandala in the light of Esoteric Buddhism, it is not sufficient for understanding all implications of Mandala in the various fields of studies. This study is concerned with the diagrammatic characteristics of Tibetan and Japanese Mandala, the metaphysical and psychological analysis on the mandalic arts or drawings by modern scholars, and the formative and symbolic meaning of mandalic are form of modern western artists. Mandala in Sanskrit is etymologically interpreted as a circle, magical circle, halo, disk (sun or moon), group, association, society, multitude, mass, district, terrace, place for cult, etc. Mandala (mystical diagram) is widely used as a supportive means for meditation, praying, and various ceremonies such as wedding and religious initiation. Two forms of Mandala are known. The first one, the 'temporary platform mandala' is drawn on a dirt platform for special ceremonies and removed afterwards. The other one is a Mandala represented in sculptures, pictures, and architecture; it is a permanent one. The mandalic figures include humanized forms of the Buddha, Bodhisattvas and divinities described in the Sutras of Esoteric Buddhism, the magic syllable representing the essence or the seed ('bija' in Sanskrit), and simple geometric abstraction. The Five meditating (Dhyani) Buddhas in the center of the Garbhadhatu-mandala and the Vajradhatu-mandala symbolize the Buddhistic nine-fold consciousness and five-fold wisdom and thus tends to combine the philosophy of the consciousness theory (Vijnaptimatra) and the sunyata theory (Madhyamika). In the late Esoteric Buddhism developed mainly in Tibet, principal Dhyani Buddhas and the annexed secondary divinities symbolize the five passions and the five senses, respectively, representing the Buddhistic ideal of the sameness between the phenomenal and the absolute world, or nirvana and samsara. Mandala is a support for an ascetic to experience the void by identifying himself with the central Buddha in Mandala during his meditation, and at the same time a time-space development implying the ups and downs of the universe. Mandala is a psychic cosmogram, since the central Buddha Mahavairocana symbolizing the vacuity is in the origin of every living organism originating from the depth of our consciousness. The diagrammatical plan of mandala about the ultimate reality is emphasized by the centrifugal and centripetal which in turn places emphasis on the center. The diagrammatic characteristics of mandala attracted the attention of the symbolists and psychologists such as Eliade and Jung. According to Eliade, ancient people set the sacred space amid the profane one through the repeated ceremony, and regarded it as an axis of the world, a sacred center for communion with the universal plan between heaven and earth, and this was developed into the diagrammatic plan of mandala. On the other hand, Jung explains that mandala symbolizes the ultimate unity of various archetypes through the center, and it shows the empirical homology with the metaphysical idea of united world. Jung demonstrated this idea by the study of the drawings and dreams of his patients, navajopictures, medieval or alchemical manuscript. He argued that mandala is an intrinsic form of all things and its earliest expression are concentric circles drawn on the rock dating back to the Old Stone Age. Eliade and Jung's interpretation of mandala was widely accepted by many scholars. Thus the word mandala is used to explain the symbolic meaning of circular forms at an intercultural level. Next I will briefly summarize the major characteristics of the mandalic art form of western artists as a symbol of ultimate reality, transpersonal, eternal, cosmic and intercultural form, and the reflection of a mental state by the intrinsic structure of all things. According to Jung, mandala originated from the collective unconsciousness and it could show the spiritual and biological phase of human and the mental state, and thus it is helpful to psychotherapy through its recovering function of psychological order. Jakson Pollock, Sam Francis and Paul Jenkins received Jungian therapy and drew mandilic pictures. Repeat of same patterns: it evokes eternity. The harmony and unity of duality. Abstract representation related to form, color, mentality and sound. Reflection of psychedelic experiences. Many artists experienced some sort of psychedelic ecstasy and saw mandala after taking conscious-expanding drugs such as LSD and mescaline and it thus became their drawing motive. In conclusion, mandalic picture is special in the presence of center, the four quarters, centrifugal and centripetal directions in it. These patterns are intercultural, multivalent and basical for various ideograms appearing from the paleolithic to the present. Due to its center, Mandala is interpreted as an ideal image of the Absolute which people understood differently within the development of human consciousness. Therefore, mandala represents a symbolic image transcending the boundary of phenomenal and absolute world, and may be lasted forever as such.

1920년대 여성운동과 단발에 관하여

전혜숙,임윤정 東亞大學校 附設 生活科學硏究所 2003 생활과학연구 논문집 Vol.11 No.-

Women's hair style expresses individual women's aesthetic sense, way of thinking and consciousness and further represents social aspects. It provides information about situations of a relevant society and times and values members of the society have. Hair style was also used as a measure for evaluating behaviors of women who received modern education in the period of Chosun's modernization, collectively called 'the new woman'. The new woman who were educated with modern ideas, started women's movements with Western ideas based in order to resolve Japanese colonial rule. Thus the purpose of this study is to determine correlations between such women as participants of the movements and their short-hair(斷髮). Results of the study can be described as follows. First, changes in the view of woman brought by modern education for women led to changes in women's social position and roles, forming a new group of women, collectively called 'the new woman', who took modern education and modern ideas in the 1920s. Women's movements made by group during Japanese colonial rule were different among them according to whether they were based on liberalism or socialism. Second, correlations between feminists and their short-hair(斷髮) varied in accordance with characteristics of women's movements. For liberal feminists, short-hair(斷髮) represented love and faithfulness and at the same time symbolized advanced social position of women and innovated consciousness of life. As far as social feminists were concerned, short-hair(斷髮) was a means of showing their strong wills to achieving women's emancipation, obtaining women's rights and escaping from conventional systems suppressing women. Those feminists returned to long-hair(長髮) in the late 1920s as their short-hair(斷髮) was not socially accepted and supported by old women. This suggests the limit of women's movements at that time. Through the study, this researcher could find that changes in hair style were not just the expression of desires for beauty, but also the clue with which changes in social consciousness could be determined.

고려시대와 조선초기 오복제도 변화에 관한 연구

전혜숙,권이순 한국의류산업학회 2004 한국의류산업학회지 Vol.6 No.2

In thisstudy, the settlement of this etiquette book and the five-class mourning-costume system throughout two dynasties is examined and analyzed.; According to the Chosun dynasty's efforts to practice Chu-Ja-Ga-Rye(朱子家禮, Chu Hsi's Book of Family Rituals) through legal intensification and enlightenment policies, the book's teachings had a general effect on society at large. As a result, the family system and funeral rites turned Confucian from a Shaman-Bud-dhist mixture. As the Confucian order was strengthened to highlight the authority of the male family head, the funeral rituals were based on Chu Hsi's Book of Family Rituals. So, the 100-day funeral of Koryo turned into the 3-year funeral in the Chosun dynasty. Also, the main and father's lines were valued, while the mother's and wife's lines were neglected. Even though there was no great difference of status or place between males and females in the Koryo dynasty, the setof Chu-Ja-Ga-Rye brought about the drop of women's status as they gradually began to be dependent on men.

高句麗 古墳壁畵에 나타난 服飾表現과 象徵性 硏究(2) : Forcus on Mural Painting NO.2 Tombs 第2期 古墳壁畵를 中心으로

全惠淑 東亞大學校 附設 生活科學硏究所 1996 생활과학연구 논문집 Vol.4 No.-

To date, the study on Kokuryo costumes has been emphasized on the dress and its ornaments point of view. However I would like to say that the life style and the symbolic characteristics of people in Kokuryo, which have been neglected for long time, were illuminated and incorporated in depth into the superficial feature of the costumes shown on the mural paintings of Kokuryo tumulus. In the ChapterⅡ following the Chapter I(Preface), I have reviewed at glance the overall No.2 Kokuryo tumulus. In the ChapterⅢ, I have reviewed the Kokuryo costumes painted on No.2 Kokuryo tumulus and tried to summarize the patterns of Kokuryo costumes. In the ChapterⅣ, the symbolic characteristics of Kokuryo costumes are explained, in a results of my scrutinized study on the costumes(dress and its ornaments) in Kokuryo described on the figure-genre paintings. In order to prepare this report, I have set the scope of my study limited to the figure-genre paintings, particularly the back ground whereon the characters with Kokuryo costumes appear. Kokuryo tumulus are normally classified into three(3) categories into No.1, No.2 and No.3 according to the year of construction. My study dealt with No.2(with Ssang-Young-Chong ; 雙楹塚, and Yaksuri ; 藥水里 壁畵古墳) tombs only. I had chosen a way of research to analyze the hidden meanings contained in the art of Kokuryo tumulus, comparing my theory with others which have been achieved already by the other researchers and making use of the aesthetics, art history, formative arts, archeology and linguistics. Without seeing the original Kokuryo tumulus due to their geographical locations in North Korea. I have relied on the limited paintings even edited partly, photos and other's research reports during my study.

성인 암환자의 질병 특성에 따른 증상발생 정도

허혜경,이은현,이원희,소향숙,정복례,강은실 성인간호학회 2002 성인간호학회지 Vol.14 No.3

Purpose: This study was to investigate symptom occurrence related to the disease characteristics of patients with cancer. Method: A total of 301 patients with cancer participated in this study. The participants were recruited from University Hospitals located in Seoul, Wonju, Kwangju, Daegu, and Pusan. Data collection was performed by using a questionnaire on symptom occurrence. The obtained data was analyzed using SPSS computer program that included descriptive statistics, Pearson correlation, one-way ANOVA, and t-test. Result: The mean score of fatigue was the highest (3.24), followed by loss of appetite, lack of concentration, change in appearance, pain, insomnia, change in bowel pattern, nausea/vomiting, coughing, and dyspnea. Most symptoms were significantly correlated with each other. The level of symptom occurrence in patients with lung cancer or cervix cancer was significantly higher than the level in patients with stomach cancer. Patients receiving radiation therapy or a combined therapy of radiation therapy and chemotherapy experienced significantly higher level of symptom occurrence significantly higher level of symptom occurrence than those receiving chemotherapy only. Also, female patients experienced higher level of symptom occurrence than male patients did. Conclusion: The sites of cancer, types of treatment, and gender influence the level of symptom occurrence of patients with cancer. Thus, these variables should be considered when assessing and planing for symptom occurrence of patients with cancer.

음악요법이 산부인과 수술환자의 활력징후와 마취회복 및 동통에 미치는 영향

김혜숙,이철갑,정혁,김기순 조선대학교 부설 의학연구소 2002 The Medical Journal of Chosun University Vol.27 No.1

Background and Purpose: The purpose of this study was to prove the effect of music therapy on anesthetic recovery, vital signs and pain control for postoperative patients in the recovery room as a nursing intervention. Methods: We compared 35 experimental groups who received music therapy with 35 control groups. All of the subjects were obstetric and gynecological operation patients. The experimental and control groups were observed for the level of anesthetic recovery (PAR score), the frequency of supplement analgesic use for pain control, and vital signs at arrival and after 15, 30, 60 minute in recovery room. Statistical data analysis using repeated measures ANOYA and x^2-tests were performed. Result; Vital signs did not show a significant difference when comparing the two groups except for the respiration rate. For anesthetic recovery, there were significant changes in respiration state in the experimental group compared to the control group. The frequency of analgesics administration was significantly reduced in the experimental group compared to the control group by music therapy. The 63 % of the experimental group responded comfortably and peacefully in subjective feelings. Conclusion: This study showed the effects o3 music therapy, which applied to helping postoperative patients recover from anesthesia and reducing the frequency of supplement analgesic use for pain. It is recommended to apply music therapy right after surgery in the recovery room as a nursing intervention if a patient wants.

魏晉南北朝時期의 婦女 빈발에 관한 硏究

전혜숙,허정희 東亞大學校 附設 生活科學硏究所 2003 생활과학연구 논문집 Vol.11 No.-

This stydy is about women's Binbal(빈발) in the Weijin-Nanbeichao(魏晉南北朝) period. First, We can see the social confusion and political corruption through the women's life of Weijin-Nanbeichao period at that time, Aw women were weak and unfaithful being subordinated to men under the confucian concept at frequent war. Women were treated as slave at home, Because of feminine viewpoint recognized as the tool of longevity pursuing in Taoism in fashion at that time. Second, Although there were very various style of Binbal, It is seen that Each name is not different at all, And similar style was called by various name. Third, It is seen that the name and style of Binbal had many intention to represent cloud and wing form generally. It is learned that essence is the reflection to human body to express incantational flying power that had wing originated in ethereal concept. As we have seen above, Hair style is not a more to be formative fashion, judging from the charateristic of hair style strongly reflected its style at that time, We can recognize that the aspect of women's history in the society of Weijin-Nanbeichao through the women's Binbal at that time.