• 한국조경학회지
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• 제26권2호
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• pp.1-14
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• 1998

The purpose of this study is to find out how the urban landscape of Korea, especially Seoul, changed during the last half century since 1945. The modernization of Korea, which had begun in 1960's after the chaotic period caused by Korean War, influenced the rapid growth of cities and the radical changes of its structures. But the Western-minded planning theories based on rationalism and positivism was directly applied in developing our traditional cities and consequently the modern urban landscape including urban pattern, architectural style, and commercial and residential landscape revealed disharmony, discrepancy and inconsistency in skylines, streetscape and so on. The findings are summarized as follows. 1. Because the urban structure and pattern changed in undesirable manner in terms of land use and traffic circulation, cities as a whole resulted in exclusive and heterogeneous landscape, and citizens lost their identity and felt alienated. 2. Because the architectural forms of important and monumental buildings which influenced the character of streetscape were not so successful in inventing contemporary Korean Style in true sense, we still have difficulty in creating the urban landscape of originality and legibility. 3. Because from the beginning of this era almost all highrise buildings were designed by modernism-oriented western architects, the commercial landscape of central cities did not evoke a sense of place, and after the introduction of postmodernism this tendency is ore striking even in everyday ordinary streetscape. 4. The newly formed residential landscape which was mainly composed of highly dense and highrise apartment, not only evolved very overwhelming and ugly visual impact but also exposed many social problems in living condition, neighboring and face-to-face contact. In conclusion, in ordr to define the 'Koreanness' of our urban landscape, we have to struggle to combine traditional architectural heritage and native townscape with Western shape, thought and theory, no matter how difficult it may be.

• 복식문화연구
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• 제21권1호
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• pp.66-80
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• 2013

Nomadism means 'divide share' and 'drift where allocated'. The word to express a variety of modern people without being tied to a fixed time and place, constantly moving to new areas and explore the possibility. The progress of this study, first, to research on the conceptual study of Nomadism through Deleuze's theory of art and to organize Nomadism patterns and design paradigms in modern society. Second is to analyze and investigate cases of Nomadism based on the theoretical background in a way to reinterpret to the contemporary fashion, and to suggest the formative characteristics and inherent expressiveness of Nomadism expressed in modern fashion. Theoretical considerations made through the collection data were select from ready-to-wear women's collections 2005 S/S~2013 S/S presented in 'Style.com'. The results of the analysis of the formative characteristics of Nomadism in the $21^{st}$ century fashion are 'mixed expressions of time space and gender', 'pursuit of diversity through self-dismantling', 'clothing systemization of mobile and deformable' and 'temporary amusement, lightness, an expression of the ride rules'. The inherent expressiveness of Nomadism through these types of figurative representation are 'unbounded fashion', 'multi-center, multi-functional' and 'emotional directivity'. As such, philosophy and artistic trends started Nomadism is harmoniously expressed in terms of the design transcending the boundaries of existing stereotypes.

• 자원환경지질
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• 제29권6호
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• pp.665-676
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• 1996

안정적인 천연자원의 공급을 통해 오랫동안 국가산업화에 이바지해온 일본의 광산산업은 산업구조의 개편에 따라 하향추세를 맞아 현재는 세 곳의 주요 광산만이 가행중이다. 최근 경제사정의 변화로 새로운 비금속광상의 개발이 어려워짐에 따라 매장량과 품위에 있어 경제적 가치를 갖는 천열수금광상으로 관심이 옮겨가고 있는 추세이다. 1970년대 후반의 급격한 금가격 상승은 환태평양 지역의 천열수금광상에 대한 지질학적 정보와 이해를 증가시키는 역할을 했으며, 특히 판구조론의 확립과 더불어 지열수계와 화석천열수계의 대비라는 가장 중요한 발전이 이루어졌다. 1988년에는 광산협회에서 천열수금광상의 개발을 목표로 일본내 19개 지역의 탐사를 인가했으며, 1989년부터는 준정부기관인 금속광업국에서 이 지역들의 금탐사를 수행해왔다. 광상성인에 관한 신개념과 새로운 탐사기술로 유망한 금광화대가 발견되어 왔으며 개발이 진척된 곳은 홋카이도 북부의 세타지역과 큐슈 중부의 노야지역이다.

• 한국지반신소재학회논문집
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• 제19권1호
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• pp.83-91
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• 2020

본 연구에서는 대형 구조물 기초 및 교량 하부기초로 사용이 증가되고 있는 현장타설말뚝 및 대형 Caisson 기초의 지반조건 변화에 따른 지지거동 특성에 대하여 분석하였다. 현장타설말뚝의 항복하중 분석법을 이용하여 산정한 허용지지력은 각 방법마다 서로 유사한 허용지지력을 산정하는 것으로 분석되었다. 또한 극한하중 분석법으로 산정한 허용지지력은 각 방법에 따라 지지력의 차이가 큰 것으로 분석되었고, 기존의 유사 사례현장을 분석하여 재하하중과 침하량에 관한 관계를 제시하였으며, 이를 통하여 향후 설계 및 시공시 말뚝의 침하특성을 평가하기 위한 경험식으로 유용하게 활용 가능할 것으로 판단된다. 또한 대형케이슨의 침설시 발생하는 지반반력 분포에 대해 검토한 결과 풍화암층 구간은 기초 모서리부에서 항복이 발생된 후 지반반력이 감소하여 거의 일정한 지반반력 분포를 나타내었으며, 기반암층 구간에서는 중앙부의 지반반력 증가로 인해 기초 중앙부가 아래로 볼록한 형태의 지반반력 형태로 변형되었다. 이와 같은 결과를 이용하여 Fang(1991) 및 Kőgler(1936)가 기존에 제시한 이론을 증명하였다.

• 간호행정학회지
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• 제5권2호
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• pp.237-251
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• 1999

The purpose of this study is to suggest successful strategies through which the effect of the information system of a hospital can be forecasted at the nursing department. In order to set up successful strategies, in the first place, both the methods of CSF(Critical Success Factor: Rockart, 1979) and ULD(User-Led Development) method and the method suggested by the Korea Productivity Center were applied. In order to measure the improvement of nursing productivity, the Dissonance theory was used. The data were collected from 100 employees serving at the clinic department of Kwangju Patriots' and Veterans' Hospital from July 4 to July 25, 1998 with reference to all 222 cases, for sampling work; then the part of the efficiency of the treatment or management of hospital business - simplification of the process of the treatment of hospital business and reduction of the time of the treatment of hospital business were measured; and in order to forecast organizational behavior, 100 cases of organization behavior were analysed, based on the well structured, questionnaires. In order to forecast the user's organizational behavior, a tool(Ronald. 1988; Stephen, 1982: Senn, 1992: Olsen, 1980: Anderson, 1988: Kim. 1992: Cho. 1994) to measure the extent or degree of the user's recognition or understanding whose reliability coefficient is 0.63 was used: and regarding the items expected by the users concerning the convenience of the system, a tool created by Bernadett, Szajna and Richard W. Scamell(1993) whose reliability coefficient is 0.88 was used. And finally, those data were analysed, utilizing the statistical package of SPSS/PC 6.0. successful strategies are suggested as follows: 1. In order that the Kwangju Patriots' and Veterans' Hospital's purpose can be successful through its strategic, information system, the quality of its services should be elevated. and for elevating the quality of medical services, elevation of the quality of medical expertism or specialty is an important factor in determining such quality. 2. In order to make the hospital information system to be successful, the hospital's top manager should participate in the effort making it successful with helping hands of the members or personnel of the hospital. 3. In order to make users participate in the hospital information system, it is prerequisite that all nurses in a hospital should voluntarily participate in the system 4. In order to reduce the expense, the time in coping with business per duty should be reduced by 10${\sim}$33.23%. The time of the direct nursing care which added value is relatively high should be elongated in order to elevate the quality of hospital services. 5. Since the introduction and spread of the hospital information system are influenced by the duration in the experience of computer use, the user of the hospital information system should have a plan to receive well-planned computer education. Finally it is suggested that the forecast of long-term productivity through a review of the user's expectation of the system should be inspected and tested through continuous studies of its effectiveness.

• 미술이론과 현장
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• 제16호
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• pp.175-199
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• 2013

Capriccio which has emersed in Italy of the 18th century is a new genre of the landscape painting. This genre represents reality, but it is very artificial product correspondingly its concept and character. It's birth place is distributed on various regions in Italy, but the main stage was Rome. Till the middle of the 18th century Rome was the Holy city of the Grand tour, the home of the Neo-Classicism and furthermore the field where archaeology and art history began to be instituted. On such historical situation the Capriccio came out and was recognized as the best popular genre in the visual art. It was favor of the art collection with the antiquity together and reflected the consciousness of the contemporary to the ancient. This study will examine the phenomena in the newly-developed archaeology and with few representative works of Giovanni Paolo Pannini as central term consider the Capriccio and the archaeological connotation. The systematical and institutional archeology which appeared at the age of the Enlightenment, on the contrary to the critical theories at the same time against capriccio, because it was regarded by them as paradoxical and too much sensitive, utilized it as a theoretical method very actively. Some among Historians and archaeologists did it, especially Francesco Bianchini distinguished the capriccio from simple imagination and made it a capacity of the knowledge. And through it he wanted to find out the historical truth. The visual art was influenced and encouraged by such attitude of the archaeology. However it's output spreaded out in various courses. While Giovanni Battista Piranesi, the best known Capriccist of the 18th century, tried to revive the antique through the epical value and his own imagination, Pannini gave priority to the strict historical research. In the such context Panni succeed Giovanni Battista Nolli who made the great map of the city Rome. Their Capriccio profited motive and was inspired by the historians and archaeologists such as Bianchini and Muratori. The Capriccio reflects not only the academic and popular interest for the antique, but also influenced on the upcoming scientific archaeology vice versa. It caused by their reasonable Interpretation and restoration of the antique through the visual medium. Finally as archaeological landscape Pannini's Capriccio is a historical case, in that the Capriccio applied the theoretical method of the archaeology to make art. It served as a momentum for the connotation to the archaeological thought.

• 대한지리학회지
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• 제40권5호
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• pp.491-513
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• 2005

경관풍수는 인간, 토지, 물, 산과의 관계를 잘 형상화할 수 있는 친환경적이고도 자연적인 토대에서 도시의 경관과 경관이미지를 설계하는 데 이용될 수 있다. 이 글은 최근 건설예정인 행정중심 복합도시 예정지역을 대상으로 경관풍수와 전통적인 한국의 인간-자연관계를 바탕으로 도시의 개념적 틀을 제시하는 데 목적이 있다. 즉 도시의 구조와 형태, 도시 내 토지이용 등 다양한 방면에 걸쳐서 도시관련 개념적 틀을 제시하는 것이다. 행정복합 중심도시 건설 예정지는 경관풍수 지리적으로 보면, 평화, 조화를 의미하는 쌍학과 강인함과 상생, 생성, 그리고 성스러운 삼태극의 이미지를 보인다. 이러한 바탕 위에서 서구적인 공간관이라고도 볼 수 있는 중첩된 다이아몬드 구조를 도시구조에 부여함으로써 이러한 전통적 경관풍수적이고도 친자연적인 장소 이미지와 상징성을 지속적으로 유지할 수 있도록 도시의 형태를 계획할 수 있다. 다이아몬드 각각의 두 중심점과 접점에 의하여 이루어지는 세 개의 중심점에 도시의 남북, 동서의 중심축이 형성되고 광장, 행정기관, 시청사가 입지시킬 수 있다. 도시 내 교통망은 방사형 및 직교형으로 건설하고, 중심점 부근에 문화시설을 설치하여 지속 가능한 도시 발전을 위하여 자연보존 지구 등을 남겨놓을 수 있을 것이다.

• 한국지역지리학회지
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• 제16권5호
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• pp.517-536
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• 2010

진주시에는 8개의 요일장이 열리고 있는데, 이 요일장은 시장주기와 입지라는 측면에서 전통적 정기시장인 5일장과 다른 특성을 나타낸다. 진주시에서는 요일장이 월요일에는 <이현 웰가아파트> 입구의 공터에서, 화요일에는 <금산 아파트단지>의 도로변에서, 수요일에는 <주약 한보아파트> 후문의 도로변에서, 목요일에는 <초전 아파트단지>의 도로변과 <망경 한보아파트> 입구의 공터에서, 금요일에는 <평거 들말한보타운> 인근의 도로변에서, 토요일에는 <가좌 주공그린빌아파트> 입구의 도로변과 <가호 아파트단지> 입구의 도로변에서 열리고 있다. 진주시 요일장에 상품을 출시하는 상인은 크게 세 부류로 나눌 수 있다. 첫 번째는 진주시 요일장들을 함께 순회하며 전업 상업 활동을 하는 이동 상인들이다. 두 번째는 자가 생산한 농산물을 요일장에 출시하는 농민 상인들(60대 이상의 여성)이다. 세 번째는 주로 간식류를 판매하는 노점 상인들이다. 진주시 요일장의 형성 원인을 기존의 정기시장에 관한 이론을 동원하여 세 가지 이론으로 설명하는 것이 가능하다. 첫째, 진주시 요일장에 출시하는 상인들은 일정한 지점들을 순회함으로써 수요를 확보할 수 있다. 둘째, 진주시 요일장에 출시하는 상인들은 영업상의 고정지출비용을 줄이면서도 적정 수준 이상의 수요를 확보할 수 있다. 셋째, 일주일에 한 번씩 요일장이 열리는 것은 진주시민의 생활리듬에 맞는다.

• 미술이론과 현장
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• 제2호
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• pp.7-26
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• 2004

Since the 20th century, it was often announced that a painting was dead, but it is still alive. Even in the epoch of recently increasing virtuality, painting is still appealing, consistently pursed by many with a thirst. Thus, it is said that the mission of a picture is to maintain its reality without being trapped in virtuality. In the history of Western painting spanning over several hundreds of years the myriad of techniques and styles have emerged, going though a huge variety of changes: namely, its not possible any longer to find the new ways of expression in painting. Hence, painters today feel that it becomes more gradually difficult for them to execute something. In the midst of swiftly changing, diversely evolving trends of contemporary art, the painters incessantly pose a question why they go on working on painting, and seek to find its answer. Why the painters still try to say something about painting? Is that because they consider it the quintessence of fine arts or think that it is in no way possible or meaningful to comment on fine arts without relying on painting? If then, is there any avenue of escape for the painting? The question of the 'crisis of painting' is still raised, when reviewing the rapidly changing conditions of inventing artworks. That is also why the recent works failed to offer a conceptually unified, universally shared perspective of painting. Moreover, painting is left to shrink comparatively with the pervasive existence of videos and installations briskly employing digital images and technologies in their creations. Whats more problematic is the fact that there is a growing sense of crisis not only in the sphere of painting hut also in the entire realm of art. As the organizers and curators of big-scale exhibitions and art projects tend to exploit their space spectacularly, focusing primarily on their abilities to control the space, there is a pervasive notion amongst them that painting is a medium that is not properly to suit such purposes and requests. Today, the death of painting is, in fact, the death of modernist painting, which assumed a central role in the history of art for a considerable amount of time, rather than the death of painting itself. Employing a new paradigm of invention, a picture is now entering a new domain which is perhaps unknown to us. Moving beyond the stereotypical concepts of painting, physical property and flatness, pictures today reveal the introduction of time and space and the penetration of new media such as installation, photography, video and the Internet. Despite such trends, the dexterity and tactile capability of painters is still to be considered significant in the future. The renewal of painting is made in an entirely unexpected manner and place.

• 한국도서관정보학회지
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• 제9권
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• pp.115-144
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• 1982

In ordinary modern wester expression 'the Renaissance' was used to denote the impact made by dead Hellenism civilization in western Christendom, particularly Italian literary and artistic movement at Northern and central Italy in the late medieval period. However, A.J. Toynbee examined the renaissance from the different aspect of view. In his great work "A Study of History" in vol. IX, he succeeded in establishing the theory of historic civilization encounters in space and in time; and in time, civilization of the present and the past or between dead and infant successor contacts on the analogy of parenthood and sonship in the relation of A n.0, pparentation-and-Affiliation. The distinguished his view of 'Renaissance' was illustrated in the sense of encounters between a grown-up civilization and the 'ghost' of its long-dead predecessor. The renaissances (by the process of evocation of ghost of its parent society) has not only one single aspect of literary and artistic field but also in politics, law, science and philosophy, languages and literatures and visual arts, and religion. The main theme of this study is to examine the development of libraries and its historical meaning through Toynbee's literary renaissance. His renaissance of Languages and Literatures has three typical steps: They are: 1st step-to restive the dead literature's remains: 2nd step-to remaster their meaning: 3rd step-to reproduce them in counterfeits... Through its first and second steps, collecting and editing, annotating by compiling an anthology, thesaurus, lexicon or encyclopedia, and in its third step publishing mostly imitation of classics took place. Toynbee depicted the five outstanding eminent representatives of literary renaissance who had a n.0, ppeared on the state of history down to the time of writing. They are: Assurbanipal, Constantine prophyrogenitus, Yung Lo, K'ang Hsi, and Ch'ien Lung and the last four had all been emperors of imperia rediviva. As the result of the examination of these five emperors with three steps of literary renaissance, the common result may be summarized as follows: 1. Those emperors of imperia rediviva interested in intellectual work and study, they also were deeply involved in collecting classics in an ostensible reason. 2. There were strong political intention of collecting materials as an a n.0, ppeasement policy of civilization by transferring scholars energies to an intellectual field. 3. Under the rulers of a resuscitated universal state, the literary renaissance were a product of political plane and that the total size of collection and work were huge. 4. Since there were strong exercise of sovereign power, an active censorship by distortion and elimination was inevitable. 5. There existed newly developed strained atmosphere between grown-up and long-dead parent civilization, whenever the book collection movement had occurred. 6. Over adhesion to the parent civilization caused imitation of classic work and the creative activities were stagnated.stagnated.