• Journal of the Korean Society of Costume
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• 제18권
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• pp.247-268
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• 1992

The Clothing expresses people's desire of beauty most directly of all cultural inheritances, and it teach us how the human culture has changed and developed. In this study researched the history of buttonholes which make the clothes more functional and beautiful. Buttons and Buttonholes is one of detailed elements they used as a fastener or as a decoration on clothing. Button have been used since ancient times, in early times long before buttons were used as fasteners they had significant decorative and symbolic value. In ancient times, clothes fastened with pins, brooches, fibular and ties. In medieval Europe, it was not until the 13th century that they used the button in functional use, and then Chong Ryung-Lk was introduced from orient, and they became popular as fasteners on clothing during the 13th century when fitted clothes replaced loose garments. Garments were laced together or fastened with buttons, until buttonholes were invented in the 13th century. But as early as the 14th century it appears that someone discovered that a loop slipped over a button, or button pushed through a slit in the cloth, would make a good clothes fastener. Many buttons made during the modern ages were convex medallions set in metal rims and decorated with partraits of famous men and women. During the modern ages, buttons, with ligh-ographed pictures, covered with celluloid of glass were popular. In the 19th century, the mass production by machine made people use the button easily, and many different material of button easily and many different material of button was made. With the begining of the 20th century. the development of plastics led to various and functional buttons. The type of buttonholes also became various, as bound buttonhole, Tailred buttonhole, Worked buttonhole, Loop buttonhole and so on. The button has many forms which were imitated by nature, or made geometrically and the appearance of the button from behind is classified by what has holes and what has holes and what has a shank, and I also classified the kinds of button by the quality of the material design and use. Like this, with the passing of the time buttons and buttonholes have changed in appearance with the change of clothes, and they have standed for something meaningful as well as fixed the opening and made clothes more beautiful.

• Journal of English Language & Literature
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• 제58권1호
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• pp.117-142
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• 2012

The education of children is one of the most important parts in children's literature. Children's literature, whose implied readers are both children and parents, is a good means to teach how they should behave and interact. Therefore, literary conventions of children's literature tend to be conservative with happy endings or fairy tale elements. Most of the children's literature of the 18th century were read as a conduct book which teaches children good manners and proper behavior, and at the same time served as a guidebook which tells parents how to discipline children. It emphasized the need of discipline to ascertain the hierarchy and order of the family, and cherished the close relationship between parents and children. In the 19th century, the ideal of family becomes more internalized. In the early 20th century, the ideology of family still remained, even though the world wars and economic depressions caused the cracks and collapses of the family. In the later 20th century, the disintegration of the traditional family was accelerated. The ideal of family based on the close relationship between parents and children, has had problems from the start. The attachment and over-closeness became stressful and sometimes could be poisonous. Recent children's literature shows the process of disintegration of the traditional nuclear family, children suffering in the fractured family, children's mental trauma, and nostalgia for the lost family. However, modern children's literature manages to find the lost or ideal surrogate family, and often shows fairy-tale elements such as mystical and heroic child protagonists or helpers who might solve all the difficult problems at once, despite the collapse of the family in reality.

• Journal of the Korean Society of Clothing and Textiles
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• 제31권8호
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• pp.1190-1201
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• 2007

This study is to review the costumes of female Shamans through Gamrotaenghwa(甘露幀畵) in the late Joseon Dynasty of the 18th and 19th centuries. The picture of Mudangnaeryeok(巫堂來歷) showing Shamanic performances which is kept in Kyujanggak, Seoul National University was the only one thing enabling to compare with the Shamanic costumes shown in Gamrotaenghwa. The earlier Gamrotaenghwa doesn't show the Shamanic features but that of the later part of 18th century shows specific costumes so that the scene of Shamanic performance can be guessed. The Shamanic costumes are classified into 5 types. Type A is considered to have followed the figures shown commonly in earlier Gamrotaenghwa of the 16th and 17th centuries, rather than the traditional costumes. Types B through E show the costumes of the Joseon dynasty. With the basic costumes of skirt and Chogori(a kind of jacket, Type B), the variable costumes worn for each type of Shamanic performances are Mongduri(蒙頭里, Type C), Jeonbok(戰服, Type D) and Cheolrik(天翼, Type E). Reviewing the general style of those costumes, the upper part was tight and the lower part was silhouette of big volume, and the length of Chogori was a little long in the early of 18th century but it became shorter with narrower sleeves from the later part of the same century. According to the general literatures about the outer collars were not overlapped and its side parts were open, with half or no sleeves. In case that the target of Shamanic performance is male god, the Shaman wore the male costumes represented by Cheolrik and Jeonbok. Because these Cheolrik and Jeonbok which were worn during the Shamanic performance have the symbolic meaning to correspond with the male god, they didn't function as ordinary costumes.

• Journal of the Korean Society of Costume
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• 제65권3호
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• pp.15-27
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• 2015

This study is the first research that examines the fashion manufacturers and merchants of the late 18th century France. Fashion specialists, (known as) Marchande de modes, started to appear in literature in the mid 18thcenturyandthe profession was officially recognized by the guild system in 1776. Rose Bertin was elected as the first representative. At the same time, there were two types of fashion specialists, tailleur and couturi${\grave{e}}$re. Tailleur had monopolized the production of the bodice and the skirt, which were the most important female dress parts. On the contrary, couturi${\grave{e}}$re only had the right to make petticoats, but they were not allowed to decorate it. In 1781, the couturi${\grave{e}}$re obtained the right to make and decorate the other parts of the dress, and this resulted in the two groups fighting over the rights to make dresses. And during this struggle, the Marchand de modes started to appear as a new occupation. Marchande de modes were privileged fashion merchants making or selling trimmings for dress and coiffure, and had authority to make capes and bonnets. Contemporary critics praised their talents for creating innovative and beautiful fashion styles, while some criticized them as women who just made luxury items. These records revealed how marchande de modes were viewed during that time.

• Journal of the Korea Fashion and Costume Design Association
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• 제12권3호
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• pp.105-119
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• 2010

The style of costumes which dancers put on for dancing on a stage reflects the times, culture, and traditionality of movements in dancing. Accordingly, everyday dresses are adopted as the stage costumes in some cases and stage costumes lead the trend in other cases. Furthermore, like stage costumes in other genres, dancing costumes put more emphasis on expressive features in the functions of clothing unlike everyday dresses. In particular, dancing costumes shall sufficiently and delicately express each movement using the costumes as well as rhythms and melodies of music for dance. Ballet which is the representative western dance was derived from the world "Ballare" meaning "dance" in Italian. As shown in the change of word, ballet started in Italy. In Italy taking initiatives for all artistic activities in Europe as leading Renaissance in the 15th century, ballet started as the court dance and favored by French. Then, ballet flourished in France and was developed to the Romantic ballet in the 19th century. During the Renaissance, the early stage of ballet development the dancers put on the dresses which were in fashion at that time on the stage. The dancing costumes added the decorative features suitable for the characteristics of main actors or actresses and contents of dances to the dresses in fashion at relevant times in 17th and 18th century. "Panier", the dancing costume in the 18th century, was sensationally popular among women. As described above, the study on the features of dancing costumes by times not only arranges the costumes in each times but also investigates emotions and artistic and aesthetic values of those who lived in the relevant times. Furthermore, it is the way to experience the height of fantasy and beauty.

• THE INTERNATIONAL COMMERCE & LAW REVIEW
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• 제43권
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• pp.239-273
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• 2009

Marine insurance contracts, which intended to provide indemnity against marine risks upon the payment of a premium, originated in Northern Italy in the late 12th and early 13th centuries. The law and practice of Italian merchants were later introduced into England through Lombard merchants. It is, therefore, quite exact that English and Continental marine insurance law have common root. Nevertheless, some significant divergences between English and Continental marine insurance systems occurred since the late 17th century, mainly due to different approaches adopted by English courts. The rule of warranty in English marine insurance was established in the second part of the 18th century by Lord Mansfield, who laid the foundations of the modern English law of marine insurance and developed different approaches, especially in the field of warranty in marine insurance law. Since the age of Lord Mansfield, English marine insurance law has developed a unique rule on warranty. Bearing in mind the realities of the 18th century, it could easily be understood why Lord Mansfield afforded such a strict legal character to marine warranties. At that time, the 'promise' given by the assured, played an important role for the insurer to assess the scope of the risk. Legal environments, however, have changed dramatically since the times of Lord Mansfield. Of course, it is still important that the assured keep his promises to the insurer under the insurance contract, which is based upon utmost good faith. Nevertheless, the remedy of automatic discharge from liability, regardless of existence of a casual link between the breach and loss seems harsh in the realities of the 21st century. After examining the warranty regime adopted by the German and Norwegian hull clauses, it is fair to say that they provide a more equitable approaches for the assured than does English law. Therefore, this article suggests that English warranty regime needs overall reform and it is time to reform.

• Journal of the Korean Society of Food Culture
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• 제23권2호
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• pp.273-292
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• 2008

Among all the ingredients usedin mandu, the following types were used:, 13 types of grains were used (12.38%), 30 types of vegetables, fruits, bulbs,and nuts were used (28.57%), 32 types of marine products, birds, meats, fishes, and shellfishes were used (30.48%), 10 types of functional ingredients were used (9.52%) and. For spices, 20 types of spices were used (19.05%). 2. Cooking Methods offor Mandu. The mMandu eaten at in the early Joseon era had was primarily made ofusedbuckwheat that contained boiled tofu or egg uiijuk in the kneaded dough for the most part and while kneading with buckwheat, the tofu or egg uiijuk has been boiled down to knead the dough, and and starch powder, bean powder, or rice powder, etc were mixed to make the mandu coating. Buckwheat powder was mixed toadded to the flourwer or was used by itself, while meat, vegetables, tofu, and shiitake mushroom, etc were also addedincluded. From the 18th century, the host plant, or cabbage kimchi, were prepared and combined had been sliced to be used as filling together while red pepper powder was mixed combined withto spices or vinegar soy sauce to be used together. Also, Radishes had beenwere also used as filling, but shown as not being used fromafter the start of the 1900's. For the shape of mMandu, it was madeinto different shapes such as as triangle, rectangle, date plum, gwebul, half moon, or pomegranate shapes, and then shapes to be boiled in simmering water, baked, or cooked as soup in clear broth for soup., In the 17th to 18th century, boilingthen in a steamer gradually became a cooking style, assumed the style of boiling in a steamer in $17th{\sim}18th$ century while in the 16th century,the an essay ofn fermenting flour in ‘Food Dimibang’ in 16th century had indicated it was cooked as the style ofby steaming in a rice steamer. Also, Mandu may have also contained the following: the thin-cut and boiled fish was cut out thin to put into the filling and boiled down, made by putting in added pine nuts after making bbeef jerky or boiled- down meat, fish, or shellfish itself to extractsand mold mandu only the ingredients combined withto put on starch powder, and then boiled down and put on pine nut powder finally, after it or cooled it wasdown to be eaten by dipping in vinegar soy sauce. In conclusion, many different types of mandu were made during the Joseon era using a variety ofwhile the ones using such various ingredients. are also one type of mandu.

• Journal for History of Mathematics
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• 제12권1호
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• pp.1-12
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• 1999

The first part of this thesis discusses the types and the properties of errors, one of which makes up systematic errors of measurements, removable by detecting their causes, the other errors of accidental causes which can not be removed. The final part of this thesis deals with the historical background of the Gaussian distribution by Hershel, Hagen, Laplace and Gauss from the late 18th century to the early 19th century. It can be concluded that the accidental idea and the treatment of accidental error distribution by Gauss Is the best one based on the assumption that the most probable value of true value is the arithmetic mean of data, obtained by repeated measurements of a given quantity.

• Journal of architectural history
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• 제13권1호
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• pp.71-81
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• 2004

The $18^{th}$ century's Industrial Revolution brought about influx of commerce, industry, and agricultural population into the urban areas, entering the $19^{th}$ century. Quality of rural communities declined, and the exploding population in the cities gave rise to various problems. 'Mietskaserne' Blockhousing was constructed by the 'Hobrechtplan', but led to social problems such as poor living conditions, insufficient sunshine due to overcrowding, slums due to incomplete urban infrastructure, epidemics, and so on. Starting in the early $20^{th}$ century, Berlin has driven forward a remodeling plan under the motto of 'critical reconstruction (kritische Rekonstruktion)'. It is performed in the place, which represents the vicissitudinous history of Berlin with site plans coexisting past with presence, using modern vocabulary of architectural forms. Reconstructing a city is a process which not only raises the economic value of each building consisting a city, but also a redevelopment process that brings out cultural value of an era. When a new era emerges buildings get reconstructed or rebuilt, and thereby form the identity of a city by reflecting its society, culture, politics, economy, and history. Old German architecture were not destroyed or rebuilt recklessly just by the fact that they are functionally or aesthetically outdated. Each building is treated as precious cultural heritage reflecting the history. This is how Berlin is being transformed today.

• Journal of the Korean Society of Clothing and Textiles
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• 제20권3호
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• pp.527-537
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• 1996

This study tries to understand the characteristics of a man's clothes from the late 17th century to the early 18th century, held by the Ewha Womans University Museum. The author adopted the Assy CAD, an apparel CAD system developed by Assysit Company of Germany, in measuring clothes which is intended to solve the problems raised in the previous measurement of clothes, as well as in the making of patterns. The author used tracing paper to make copies of the curved parts, put them into the computer by digitiger, and made the patterns for more accurate restoration. Furthermore, the author compared Lee Hwang's with the contents of the related literature and excavated apparel from other tombs. As a result, Chopri among Lee Hwang's clothes, retained the typical characteristics of the mid-Chosun men's fashion in its ratio of bodice to skirt, form of sleeves, and size of breast- ties for fastening which appeared in the 17th century. Daechangeui and Jungchimak also were distinctive for Changot and the width of sleeves since the 17th century and were in wide use not only as the daily clothes but also as the shroud. These changes were brought about from the two wars which emphasized prestige and beauty of the clothes rather than their functions. As a result, Changeuis were used more widely, while Chopri which was used as the underwear of officials' uniform, was in decline.