본 연구는 썹 시술이 여성의 이미지 변화에 어떤 영향을 미치는지 그리고 속눈썹 시술 이 여성의 뷰티 행동에 어떤 변화를 가져오는지 살펴보고자 하였다 또한 여성의 속눈썹 시술과 뷰티행동에 대한 실태조사를 통해 속눈썹 시술이 여성의 이미지변화에 미치는 영향 과 뷰티행동에 미치는 영향을 분석하고 그 결과를 바탕으로 여성의 뷰티행동에 대한 시사 점을 제시함으로써 여성의 뷰티행동에 대한 이해를 높이고 여성의 뷰티행동을 개선하는 데 기여하고 속눈썹 시술의 시장성 및 발전 방향을 제시를 연구의 목적으로 하였다 본 연 구를 위하여 서울지역 속눈썹 시술 전문 샵 방문자를 대상으로 설문조사를 통해 자료를 수 집하여 대상자의 일반적 특성과 속눈썹 시술 이용행태 시술 관련 인식 현황을 살펴보기 위해 빈도분석 을 실시하였다 또한 속눈썹 시술경험이 있는 조사대상 자를 대상으로 조사대상자의 특성과 속눈썹 시술 이용행태에 따른 시술 비용 수준 인식 차 이 만족도 차이 시술 후 미적 주관적 자신감 증대 차이 지속적 속눈썹 시술 의향 차이를 살펴보기 위해 카이제곱 검정을 실시하였다 본 연구결과 속눈썹 시술이 여성 의 외모와 심리적 상태에 긍정적인 영향을 미칠 수 있고 여성의 외모를 변화시켜 자신감과 자존감을 높이는 데 도움이 될 수 있고 이는 속눈썹 시술이 여성의 외모와 심리적 상 태에 긍정적인 영향을 미칠 수 있음을 시사하는 것으로 나타났다

A new type of women started to appear in Germany during 1920-1930s and unlike his previous work, Klee began to create works, which related to this new type of modern woman. This paper is a study of Klee’s image of New women in the 1920-1930s, and reflects on Klee’s professional achievements and his perception of these times, based on their social background, which was reflected on the shapes of the ‘New women’ that he portrayed. The labor power shortage that resulted in the aftermath of the First World War provided women with employment opportunities and they were therefore able to actively contribute to the economy. Klee recognized the fact that the female gender role that had been limited to being a wife and mother at home, changed drastically as women participated more in politics and social activities. This was illustrated by the diverse images and activities of contemporary women in the performing arts, and portrayed in magazines, newspapers, and film. The liberation of bodies was expressed through dance or gymnastics and the social atmosphere of the time promoted the performances of modern female dancers. Consequently, there was a significant increase in the number of new women who enjoyed dancing and this led to the production of a large number of dance studios and professional dancers. Klee’s images of dancing women shown in his works at the beginning of the 1920s were formed using mysterious and erotic shapes and vibrant lines. However, towards the end of the decade, expressionistic and dark black lines were more prevalent in his dance related works. Clearly repeating straight lines and curves produced geometric and pictorial structures, which expressed perfectly the dynamic motions of dancing women. The 1920s in particular can be said to have been an innovative period of expressionistic dances, and dancers expressed the inner world of human emotions through free movements. The leaping dancers produced by Klee could also be connected to the gymnastics performed at the Bauhaus. At that time, gymnastics was seen as a link between pop culture and the practice of high class art. Overwhelmingly, many participants in gymnastics were women who embraced pop culture and saw themselves as being popular modern women. During the late 1920s, Klee focused on jumping and shifting shapes while concentrating on the creation of geometric abstraction, which meant that the geometrically simplified shapes lost their concreteness and comprised of crosses of planes. Therefore, the gymnastic rhythms that appeared in Klee’s works emphasized movements based on the geometric body shapes, which were connected to an observance of the participants in physical activities.