신체가치와 소비행동: 척도개발과 활용을 위한 탐색연구

김완석,차주화 한국소비자·광고심리학회 2006 한국심리학회지 소비자·광고 Vol.7 No.3

지금까지의 신체이미지 관련연구들이 1) 주로 신체를 어떻게 평가하고 지각하는가에 초점을 맞추어 2)주로 병리적 현상을 설명하기 위한 연구를 하였다는 인식을 바탕으로 1) 신체에 대한 평가와 지각 자체가 아니라 이에 영향을 미치는 신체에 대한 더욱 기본적인 가치관을 측정할 수 있는 도구를 개발하며, 2) 이런 측정치들을 대부분 정상적이라 볼 수 있는 소비행동의 연구에 사용할 수 있는 가능성을 탐색하고자 했다. 탐색적으로 개발한 신체가치 척도들의 심리측정학적 특성은 수용할만한 수준이었고, 신체관련 소비행동과도 높은 관련성이 있는 것으로 나타났다. 연구결과의 함의와 신체가치 척도를 완성할 수 있는 후속연구의 필요성을 논의하였다. Based on the fact that previous researches on the body image concepts, this research extended the findings on the previous concepts of the body image for consumer behavior-usually normal behavioral domain. This research aimed to 1) develop scales which can capture the value dimensions about the meaning of the body beyond perceptions and evaluations, and 2) test whether the scales could be used in consumer behavior-usually normal behavioral domain- researches. After examining the psychometric features of the body-value scale, the findings indicated that the body-value scale was good enough to be accepted as research tools for body value in terms of reliability and validity. Furthermore, it was useful in predicting body-related consumption behaviors. The implications of the results and further work needs to be done were discussed.

A Study on the Comparison of Body Types among Korean, Chinese and Chosunjok college Women Ⅱ

Sohn, Hee-Soon,Lim, Soon,Kim, Hyo-Sook,Son, Hee-Jeong,Kim, Young-Sook,Jang, Hee-Kyung,Ryung, Jung The Costume Culture Association Department of Clot 2000 Fashion, industry and education Vol.3 No.1

The purpose of this study is to compare the constitutions comparatively among Korean, Chinese and Chosunjok college women and thereby, provide for some basic data helpful to the development of export apparels befitting the Chinese consumers. For this purpose, Korean, Chinese and Chosunjok college women aged between 17 and 24 were sampled to be subject to body measurements. The measurement data obtained were indexed for each part of the body to set a total 29 consitutional indices, which were analyzed by factor dictating the major shapes of body. Thus, based on the constitutional factors constructed, the differences of constitution among three groups were comparatively analyed. The results of this study can be summarized as follows; It was found through this study that Korean college women had thickest neck compared with body size and had longer lower limbs compared with stature. Moreover, their lower body was absolutely longer than the other two groups, and thus, Korean college women were found slimmest. On the other hand, Chinese college women had most voluminous chest turned over most with most loose shoulders. Namely, Chinese college women had their upper bodies turned over with shorter and thicker body. They were obesest. Chosunjok college women had longest upper body but shortest breast length. Their lower body was obesest, and their body was longer compared with stature. Moreover, Chosunjok college women's lower limbs were shortest, while their arm scyes were small nearest body type.

노년 남성의 체형에 관한 인식 유형화

차수정(Su-Joung Cha) 한국컴퓨터정보학회 2019 한국컴퓨터정보학회논문지 Vol.24 No.4

The purpose of this study was to provide basic data necessary for the development of clothing that can improve the satisfaction of body shape of elderly men by examining subjective characteristics and characteristics of perception type of older men s body shape. Using the Q methodology, I investigated and analyzed the process of formation and main characteristics of subjectivity of various types of recognition that elderly men express about their body shape. There were four types of perception of body shape in elderly men: flat hip and bird legs skinny body, back bent and abdominal obese body, thick neck and upper body development body, forward cervical neck and protruding abdomen obese body. The actual body shape of elderly men was classified according to the bust, waist circumference, hip circumference, and body part angle. But recognition body shape of elderly men was classified by visual factors like the abdomen, the angle of the neck, the inclination of the back, the slope of the waist, and the degree of obesity. It is necessary to consider the trend of silver fashion which is increasing in demand. In addition, it is necessary to develop clothing patterns of comfortable fit through ergonomic study on the physical characteristics of older men. Consideration should be given to the design and pattern that can reduce the difference between the ideal body shape and the body shape recognized by older men.

몸 기반 문화예술교육의 의미

오레지나 한국무용교육학회 2020 한국무용교육학회지 Vol.31 No.3

The Body-based Arts and Culture Education is a newly formed concept that is not in the existing categorization or classification of the arts but in the recognition of body as a common medium of the artistic forms such as Music, Dance, Theatre, and Cinema. That is an effort to find an essential element in the artistic forms and to connect each art with human body. The body is where life-ness begins. It is the reality of the mind that reflects our culture. Body, therefore, is important in Arts and Culture Education that tries to understand and create Life on a new dimension. The system of Body-based Arts and Culture Education shows a borderless integration and cycle of Body-Movement-Life. It pursues connecting Ecosystem- Life-Recovery Activities through Arts and Culture Education. Such a form of education has the qualities that are body-centered, practice-centered, life-centered, and relationship-centered. Also, it shows communications based on movements harmonious to the ecosystem. The first step of Body-based Arts and Culture Education is “body-design” as the creative ways of connecting body, movement, and life is the most important in its goal. Body-design attempts to form a continuation of a good repeating practice of order, which is harmonious to the ecosystem, in a body after the stages to diagnose problems in the body and mind and build a problem-solving plan. This bodydesign is totally based on the point of view that is harmonious to the ecosystem, and its continuation is acquired through repetition of simplicity and shinmyeong (spiritual pleasure). Body-based Arts and Culture Education is an effort to rebuilding Body-ness, that is, Life harmonious with Nature. Body-based Arts and Culture Education is an aesthetic practice to rebuild life through accomplishing creative rhythm in our daily lives.

바디 페인팅의 독립 장르 제기를 위한 연구

최민령 ( Min Lyoung Choi ) 한국미용학회 2008 한국미용학회지 Vol.14 No.2

This study aims to bring into question the awareness on the ``body painting`` in the existing literature that it has only to be put to use secondary and auxiliary to the othter field of art without finding its place as an independent genre of art. The existing approaches to the body painting has been dominated by the angles focused on the ``performance`` and the ``body art``. The performance-focused approach, in which body painting serves simply as a make-up for the performer, one of the elements of performance to help it communicate effectively its meaning and come to perfection, might be in itself lacking in the attention to the placement of the body painting as a new genre of art. In the body art-focused approach, the body art, although closely similar to the body painting in employing the human body as the vehicle of expression, is quite different from the body painting in that a body-artist ``acts`` by his/her own body while a body-painter ``expresses`` himself/herself by other`s body i.e. a model`` body, and in that it, coupled with the technology, even transforms the human body into the cyborg; it thus appears that the body art is not to provide the arguments for the placement of the body painting as a new genre of art.

3차원 데이터를 활용하여 시니어를 대상으로 한 바디쉐이퍼의 보정기능성 평가

김소영,홍경희,이희란 한국의류산업학회 2019 한국의류산업학회지 Vol.20 No.2

The Fourth Industrial Revolution has increased studies on observing the cross section by overlapping the clothing worn using 3D human body data. However, there is a lack of studies on the effect of pressure clothing that contracts the shape of the human body. Therefore, this study objectively evaluated the shaping functionality of body shapers using 3D scan and 3D data. Two types of commercial body shapers were selected for this study. The nude body and body wearing body shapers were then scanned. A 3D program evaluated the shaping functionality by overlapping the nude state with the body wearing body shaper A and B respectively. As a result, it was found that the effect of body shapers could be adequately observed according to body parts. The smaller body shaper was shown to have superior shaping capability with the abdomen more affected. Analysis of the horizontal cross section indicated that the waist circumference decreased by 6 cm when wearing body shaper A and decreased by 12cm when wearing body shaper B. The volume of the waist part decreased by 8.6% when wearing body shaper A and by 20.4% when wearing body shaper B. Therefore, it is more effective to compare the objective shaping functionality by body parts using the overlapped 3D scanned data rather than using exterior evaluation or length measurement when wearing clothing that contracts the body shape.

들뢰즈의 시간의 세 가지 종합과 신체의 영화

김형래 한국영화학회 2024 영화연구 Vol.- No.102

This paper explores the significance of the body in contemporary cinema, with a particular focus on clarifying the relationship between the body and time. For Deleuze, the body is not a static entity maintaining identity, but rather a non-representational figure that is generated, evolves, and perishes within time. The non-representational body exists outside of thought and remains unthought— what Deleuze calls the “non-thought”—and it forces thought to emerge. This suggests a philosophical subversion regarding the body, one that cinema uniquely expresses. In this context, Deleuze classifies the body in cinema into three categories: the body’s attitude, the body’s posture (ritual body), and Gestus. These three types of bodies, however, are not strictly delineated but transcend their limits. Nevertheless, each of these bodies can be explained through Deleuze’s theory of time. In ‘Difference and Repetition’, Deleuze outlines his fundamental theory of time, particularly the three passive syntheses of time. These include the first synthesis of time as habit, the second synthesis as memory, and the third as the form of empty time. Deleuze describes the first synthesis as representing the classical conception of time, prevalent in the history of philosophy, and regards it as the foundation for the latter two syntheses. Deleuze first connects the body’s attitude to the third synthesis of time, explaining it as the everyday body, which is understood through the series of time. The serial time expresses the eternal return, which, in turn, represents the time of becoming and perishing that contains both before and after. Secondly, Deleuze applies the second synthesis of time, which refers to the order of time, to explain the ritual body. This body presents the crystalline body, which reflects the two aspects of the crystal-image: the peaks of the present and the sheets of the past. In other words, it embodies the coexistence of the pure past (virtual) and the present (actual), expressed through the spectacle or grotesque carnivalesque body. Thirdly, Gestus refers to the theatricalization of the body and acting, symbolizing social relations. Gestus may arise through the transition from the body’s attitude and the ritual body. In this sense, Gestus encompasses all three syntheses of time. As such, Gestus is comprehensively explained in relation to the production of difference, becomingother, the birth of a new body, and the power of the false. By clarifying the relationship between the body and time in cinema, we can better understand the significance of the body within cinematic works. 본고는 현대영화에서 신체가 갖는 의미에 대해 탐구한다. 특히 신체와 시간의 관계를 구체적으로 밝히는 데 목적이 있다. 들뢰즈에게 신체는 동일성을 유지한 채 고정불변하는 물질이 아니라 시간 속에서 생성, 발전, 소멸하는, 비재현적 형상이다. 비재현적 신체는 사유의 바깥에 위치하며 아직 사유되지 않은 것, 즉 비사유로 존재하며사유를 강제한다. 이는 신체에 대한 철학적 전복을 암시하는 사유라 할 수 있는데, 영화는 바로 이러한 신체를 가장 잘 표현하고 있다. 이에 들뢰즈는 영화 속 신체를 세가지로 분류한다. 신체의 태도, 신체의 자세(제의적 신체), 게스투스가 그것이다. 물론 이 세 가지 신체는 엄격히 구분되는 것이 아니라 각각 그 경계를 넘어선다. 그럼에도불구하고 이 각각의 신체는 들뢰즈의 시간론으로 설명된다. 들뢰즈는 차이와 반복 에서 그의 핵심적인 시간론, 즉 시간의 세 가지 수동적 종합에 대해 상론하고 있다. 습관의 종합인 첫 번째 시간의 종합과 기억의 종합인 두 번째 시간의 종합, 그리고 텅빈 시간의 형식인 세 번째 시간의 종합이 그것이다. 들뢰즈는 여기서 시간의 첫 번째종합을 철학사에서 나타나는 시간에 대한 여러 관점 중 고전적인 시간론을 대변하는것으로 기술한다. 그리고 나머지 두 가지 시간의 종합의 토대로 간주한다. 들뢰즈는먼저 신체의 태도를 시간의 세 번째 종합과 연결시켜 설명한다. 신체의 태도는 일상적 신체를 말하며, 이는 시간의 계열을 통해 설명된다. 계열적 시간은 나아가 영원회귀의 시간을 표현하는 것이며, 이는 특히 이전과 이후를 내포하는 생성과 소멸의 시간을 나타내는 것으로 간주된다. 둘째, 들뢰즈는 제의적 신체를 설명하기 위해 시간의질서를 의미하는 시간의 두 번째 종합을 적용한다. 제의적 신체는 결정체적 신체를말하며, 이는 결정체-이미지의 두 가지 양상, 즉 현재의 첨점들과 과거의 시트들을 나타내는 것이다. 이는 다시 말해 순수 과거(잠재태)와 현재(현실태)의 동시적 공존을표현하는 스펙터클이나 그로테스크한 카니발적 신체를 말한다. 셋째, 게스투스는 사회적 관계를 나타내는 연기 및 신체 자체의 연극화를 의미한다. 이때 게스투스는 태도 및 제의적 신체로부터의 이행에 의해 발생할 수도 있다. 그런 점에서 게스투스는시간의 세 가지 종합을 모두 함축하고 있는 것으로 간주된다. 따라서 게스투스는 차이의 생성, 타자되기, 새로운 신체의 탄생, 거짓의 역량과 관련하여 종합적으로 설명된다. 이처럼 영화의 신체와 시간의 관계를 명확히 밝힐 때 영화 속에서 신체가 의미하는 바를 좀 더 잘 이해할 수 있을 것이다.

바디 포지티브 문화 이해하기에 대한 자문화기술지

김가영 한국리듬운동학회 2023 한국리듬운동학회지 Vol.16 No.3

This research aimed to understand body-positive culture through the method of autoethnography. The researcher focused on the concept of positive body image and reflected upon and analyzed body-positive culture from their perspective. Additionally, the study aimed to identify and interpret body-positive messages within a cultural context. Ultimately, the research focused on how body-positive culture is being developed in our society. The research questions were, “How did the researcher come to understand body-positive culture?” and “How did the experiences of the researcher lead to a different interpretation of current body culture?” In conclusion, first, the researcher realized that the reflections obtained during the research process ultimately led to a study on positive body image. Second, based on the reflective research brought about by the sexual objectification of female body images, the importance of education about ‘body image’ and establishing a healthy body perspective became evident. Third, while reflecting on oneself within the culture, the researcher contemplated the memories of everyday conversations about bodies, the societal norm of appearance judgments, and why the perspectives of others are significant.

'신체-예술’의 훈육과 생성 - 푸코와 들뢰즈의 신체 이론을 기반으로 -

사요평,홍순환 한국기초조형학회 2022 기초조형학연구 Vol.23 No.4

The body, as the basic premise and prerequisite for our perception of the external world, understands the world we live in better than consciousness. The body, as the basic premise and prerequisite for our perception of the external world, understands the world we live in better than consciousness. Choose to study the discipline and becoming through the movement from the antagonism of power discipline to generative events, to provide a more substantive understanding of “body-art” while providing contemporary art with theoretical explanations and motivations for artistic development, thus it has the necessity of its research. As a “body-art”, it can only return to the fundamental changing power of “events”, by continuous creation and generation, constantly breaking free from the constraints and dogmas from inside and outside to become a body without organs, and the genuine concept of a symbiosis can be found out from internal connection between the body and art. With a such a research background, it was mainly focused on the core of “body-art” and based on the philosophical theory, combined with contemporary artworks in this study. In the “Discipline” and “Becoming” about the body proposed by the postmodern philosophers Michel Foucault and Gilles Deleuze, the disciplinary body is considered to be the event of power shaping and the place of power monitoring, It exhibits as passive power transformation and regulation, making the body the starting point of resistance, and the generated body is connected, moved, generated, and changed in the event, manifested as active desire production, is active and open, contingent, split organless bodies. The resultant research concluded that “body-art” is constantly changing and gaining freedom in “becoming-event” is a dynamic relationship with power contests and endless production of desired machines. Each encounter is a unique event, and the body encounters, thinks, and feels from the event. 신체는 우리가 외부 세계를 감지하는 데에 있어 기본적인 전제 조건으로 우리가 살고 있는 세계를 의식보다 더욱 잘 이해한다. ‘신체-예술’에 대하여 보다 실질적인 이해와 현대 예술에 있어 예술 발전의이론적 설명과 동기를 제공하기 위해 훈육과 생성에 대한 연구를 선택하였다. 권리의 훈육에 대한 저항부터 사건 생성의 운동까지 체계적으로 연구를 진행하였다. 본 연구는 ‘신체-예술’이 ‘사건’이라는근본적인 변화하는 힘으로 돌아가고, 끊임없이 무언가를 창조하고 생성하며, 내부와 외부의 제약과 독단에서 벗어나 기관 없는 신체가 되어야만 신체와 예술을 연결하는 공생의 길을 찾을 수 있음을 증명하는 것을 목적으로 한다. 연구 방법은 ‘신체-예술’을 핵심으로 하고 철학 이론을 기반으로 한 현대예술 작품에 대한 분석이다. 포스트모던 철학자 푸코와 들뢰즈의 신체에 대한 ‘훈육’과 ‘생성’의 내용에 따르면, 훈육의 신체는 권리에 의해 형성되는 사건이고 감시당하는 장소이며, 수동적인 권력 개조와 규제이다. 신체는 저항의 출발점이다. 생성된 신체는 사건 속에서 연결되고 운동하며 또 다시 생성되고 변화한다. 또한 신체는 긍정적인 욕망을 생산하며 능동적이고 개방적이며 우연적이고 분열된기관 없는 신체다. 따라서 연구 결과를 종합적으로 볼 때, ‘신체-예술’은 ‘생성-사건’속에서 끊임없이자유를 얻고 권력과 겨루는 동태적인 관계이며, 욕망 기계의 끊임없는 생산이다. 이러한 생산은 고유의 소박에서 벗어나, 만남은 매번 독특한 사건이 되고 신체는 그 사건 속에서 서로 맞닥뜨리며 무언가를 생각하고 느낀다.

쿳시의 소설에 드러난 몸과 언어: 『야만인을 기다리며』와 『포우』를 중심으로

윤영필 영미문학연구회 2004 안과 밖 Vol.17 No.-

Critically acclaimed as the rare combination of postmodernism/ poststructuralism and postcolonialism, Coetzee’s novels not only show remarkable sensitiveness to the discursive practices but also bring to the fore the undeniable existence and power of (colonial) body. Focusing on the thematics of body, this paper proposes to examine the relationship between body and language in his Waiting for the Barbarians and Foe. While problematizing the transparency of discourse and interpre- tation, Waiting for the Barbarians bears firm witness to the resilient power of the suffering body. This is most evident in the barbarian girl whose body recovers from the torture of Empire and frustrates the vaguely sexual and insistently interpretive power of the magistrate-narrator. And it is his bodily pain that helps to lead the narrator to an ethical awakening, a painful recognition of the imperialist implications of his interpretive will and liberal humanism. On the other hand, Foe explores the relation between the body and the language, rather than the meaning of the body itself. While the constitutive power of narration is powerfully evoked, its concomitant danger of ‘endless doubting’ is shown to be countered only by the substantial existence of body/reality. Moreover, this novel inquires whether or how much it is possible for the colonizer’s language to represent the truth of the colonized body. This paper concludes by pointing out a couple of problems Coetzee’s novels confront. Laying too much emphasis on the body with its pain, his novels fail to address some other vital aspects of the human body. They also fail to move beyond the allegorical level to a more fully envisaged representation of the colonial body, namely, to the postcolonial subject that utters for him/herself and actively participates in the historical process.