• 한국식생활문화학회지
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• 제1권3호
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• pp.249-265
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• 1986

Korean peoples have been the god of 'Cho-Wang' and believed the god that control the food in the kitchen and well-being of home. There were many charms related to the kitchen. The striation of 'Kama' was especially peculier in the charms. The word of 'Kama' means hair striation of head and also means cooking kettle. Other charms related to food were also reviewed.

• 한국디자인학회:학술대회논문집
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• 한국디자인학회 2001년도 디자인학연구 2001 봄 학술발표회 논문집
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• pp.94-95
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• 2001

• 한국컴퓨터정보학회논문지
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• 제15권9호
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• pp.1-8
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• 2010

하드웨어-소프트웨어 통합설계에서 다양한 설계제약 조건을 만족하는 임베디드 시스템 개발을 효율적으로 완료하기 위하여 하드웨어와 소프트웨어의 최적분할을 빠른 시간 안에 탐색하는 핵심기술이 필요하다. 본 논문에서는 다양한 하드웨어-소프트웨어 분할에 따른 매핑 조합 중 최적분할에 해당할 수 없는 조합들은 미리 선별하여 탐색대상에서 제외하는 것을 가능하게 하는 맞춤형 매핑 휴리스틱, CHARMS을 제시한다. CHARMS은 응용프로그램의 여러 태스크를 하드웨어 또는 소프트웨어로 매핑하면서, 단위시간 안에 처리되는 태스크의 수인 Parallelism과 일의 양인 Workload 로 Throughput을 예측하고 최적의 분할대상을 선별하는 기존의 휴리스틱보다 향상된 방법으로, 태스크들의 계산 복잡도를 고려하였으며, 설계제약 조건의 중요도를 다양하게 표현할 수 있는 weighted combo-metric을 활용한다. H.263 인코더 설계에서 CHARMS을 이용할 경우 매핑조합의 95.17%를 탐색 대상에서 제외할 수 있었음을 실험을 통하여 보였다.

• 디자인학연구
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• 제14권4호
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• pp.99-108
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• 2001

부적에는 고대의 다양한 기호나 그림, 원형문자가 사용되어 왔으며 현재도 쓰여지고 있다. 이는 체계화된 문자와 조합되어 다양한 표현으로 메시지를 전달하고 있으며, 현재도 전통적인 방법이 고수되는 반면 지속적인 변화를 통해 인간의 감정과 욕망을 표현하고 있다. 부적은 일반적 견해로 생각하는 실험 타이포그래피 만큼이나 논리적이며 실험적인 성격이 강하다. 또한 문자가 가지고 있는 의미로 다른 기호나, 상형문자, 그림 및 유사단어로 표현하고 있다. 각각의 요소들은 상징적 심볼 및 연상성, 글의 해체성 등 다양성을 갖추고 있었다. 이러한 타이포그래피의 실험적 성격을 더욱 실험적으로 표현가능성을 보여 주고 있는 부적에서 배워야할 해체와 구성작업을 회화적 타이포그래피 관점으로도 눈여겨볼 점이 많았음이 관찰되었다. 본 연구는 부적이 가지고 있는 조형적 특징을 실험 타이포그래피와 비교, 분류, 분석하여 부적이 가지고 있는 조형적 특징이 시각적 언어와 타이포그래피 표현으로 응용될 수 있는 가능성을 살펴보고자 한다. 또한, 한국적 조형 문화로서 부적이 형태적 물성이 가지는 시각 이미지에 대한 재인식과 그 가능성에 대한 모색은 타이포그래피의 서구적인 고정된 틀을 벗어나 우리의 문화와 정서에 맞는 타이포그래피의 표현 영역을 화장하는 것이 앞으로의 과제라 할 수 있다.

• 한국생활과학회지
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• 제13권2호
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• pp.301-316
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• 2004

In this study, 2,238 incidents from History of the Three States, Prehistory of the Three States, History of Koryo, True Records of Chosun Dynasty had been analyzed in order to examine the bathing styles of Koreans. The results were as follows. In the period of Three States, baths were taken for the purposes of cleanness, remedy, and beauty culture as well as etiquettes. And spa, rainwater, rivers, streams, and bath tubs were used. In the period of Koryo, it included not only reasons for etiquettes as in the period of the Three States but also reasons for medical care and daily life. In spa, temples, and homes, baths were taken by using perfumes and towels. In Chosun Dynasty, daily baths were for hygiene, health, and bodily charms. Before religious ceremonies, they made sure that they took baths, and spa baths were popular for the medical care. The ways to take baths included the order which area was the first to be washed, time, and areas concretely, and seasons, weather, and conditions of body were considered before taking baths. Moreover, the places included natural places such as streams, reservoirs, rivers, as well as artificial places such as temples, places for envoys, and palaces. Especially, in spa areas, bathing buildings were constructed. Considering all these, baths were taken for the purposes of ceremonies and medical care in the period of the Three States, and daily baths took down their roots in the period of Koryo. In the period of Chosun Dynasty, spa baths for cures, prays and rituals, hygiene and bodily charms were considered as a reason. How to take baths and means were decided carefully. Therefore, the results above demonstrated that baths took down their roots in people's daily life in Korea since the period of Koryo.

• 한국조경학회지
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• 제42권6호
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• pp.31-38
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• 2014

이 연구는 경주역사유적지구를 대상으로 역사도시경주의 경쟁력을 좌우하는 도시의 매력요인들을 규명하기 위한 평가지표를 개발하고자 수행하였다. 이를 위해 역사문화 관광자원의 매력요인에 대한 선행연구와 UNESCO, ICOMOS 등이 정한 국제 기준을 검토하여 평가지표 후보군을 도출한 후 1차, 2차 전문가 조사를 실시하였으며, 조사 결과에 대한 중요도(M), 표준편차(SD), 내용타당도 지수(CVR), 합의도, 수렴도 등의 분석을 통하여 최종적으로 도시의 역사 문화적 영역, 유산자원적 영역, 환경적 영역 등 3가지 평가분야와 22개 평가지표가 선정되었다. 이들 지표는 역사도시의 매력을 제고하기 위한 유용한 기초자료가 될 것으로 판단된다. 따라서 역사도시 경주는 이들 지표를 바탕으로 매력도 평가를 실시하고, 평가 결과를 역사도시 관리에 적극적으로 이용할 필요가 있다.

• 영어영문학
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• 제56권2호
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• pp.237-253
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• 2010

In Christopher Marlowe's Cambridge days in the 1580s, the British forward wits were engaged in the curious pursuit of magic and occult philosophy in order to discover the mystery of things. Magic, together with judiciary astronomy, astrology, mathematics, and logic, was one of the most practical disciplines. Marlowe, Shakespeare, and Jonson demonstrate their deep interest in magic and its language of spell and charms in the light of their analogical application to the alchemical theatre. As Shakespeare says that the poet, the lover, and the madman are of the same because they give forms to airy nothing, a magical illusion is, for the three playwrights, similar to the theatrical illusion in that both magic and theatre work in and by a language and both give us sportive pleasures through the deceptio visus. However, while Jonson is rather puritanically antagonistic to the illusive language of alchemy and magic, Marlowe and Shakespeare are attracted to the rapturous nature of the absolute language of magic. Doctor Faustus' indulgence in magic stands for the Marlovian aspiration for the absolute language which allows no discrepancy between thinking and willing, conceiving and actualizing. His uses of spells, charms, anagrams, and magic books are transformed and translated in the play into an alchemical theatre. Faustus is dependant on and bound by his books of magic, as is the actor on the stage. Faustus is the poet condemned from the beginning. Though he is mistakenly thinking that it is he himself that manipulates Mephostophilis the magical agent, it is otherwise. Faustus is a shadow or an actor in the Elizabethan language. He remains a farcical figure during the twenty-four years which are given to him for his sensual dalliance. Marlowe never forgets through his farcical clowning to satirize such Catholic rituals as exorcism and benediction for their illusive theatricalism. The sports of Faustus' playacting and play-directing rise at the last hour to the height of a tragedy. Ironically Marlowe the playwright succeeds as a tragedian at the point where Faustus fails as a magician.

• 한국식생활문화학회지
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• 제1권1호
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• pp.31-43
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• 1986

There is the picture of four gods(四神圖) painted on the wall of old tomb of Koguryo dynasty in $4{\sim}5$ century. Four gods in this picture were Symbolized by four animals, tortoise, tiger, ryong which is imaginative large Snake, and bong hwang which is also imaginative birds. Those animals wese believed at that time as protecting geities against all of the haman disaster and evils. The peoples of Kojosun dynasty carried those animal charms, and painted or graved on some where of living environment such as furniture, utensils, tools, wall, ceiling, etc. They ate those animals as food or medicine to treatment of all disieses and to get rid of evils and to gain well-being. A lot of examples in historical records were cited and interrelated to above super stitions.

• 한국생활과학회지
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• 제24권4호
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• pp.531-539
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• 2015

The purpose of this study is to analyze the aesthetic characteristic of men's costume in the Renaissance period. Fashion is a reflection of Zeitgeist. The ideal aesthetic values of each period create the concept of ideal beauty for that period. Costume represents the ideal beauty of a particular period. The aesthetic characteristic of men's costume in the age of Renaissance was analyzed in terms of four categories: the beauty of male body, sublime beauty, sensual beauty, and artistic beauty. First, for the beauty of male body, the men in the age of Renaissance enlarged their chests and shoulders by inserting a pad in them in order to express their masculine beauty of human body by emphasizing their sexual organ. Second, for the sublime beauty, men's costume was exaggerated by using a pad, a ruff collar and slash. In this period, men intended to represent their power and dignity through horizontal extension in their costume. Third, for the sensual beauty, erotic emphasis were made through physical elements. In order to show off sexual charms, men padded their costumes and introduced the codpiece. Last, for the artistic beauty in the age of the Renaissance, men's costume showed proportional, balanced and symmetrical beauty. And men's costume was made of rich brocades, which were embroidered and encrusted with jewels.

• 대한가정학회지
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• 제38권8호
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• pp.99-110
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• 2000

The purpose of this study was to investigate the differences in traditional baby-delivery practices between young mother and grandmother generations. The subjects were 118 young mothers and 118 their own mothers or mothers-in-law in Tae Gu district. Young mothers had the first baby aged from 2-to 2.5-year-old. The subjects answered the questionnaires on Korean traditional baby-delivery practices developed by the researchers based on literature reviews. The data were analyzed using Frequencies, Percentages, Crosstabs, and t-test. The results of this study were as follows: 1. More grandmothers believed in supernatural being who influenced pregnancy and used to be called as 'grandma Sam Shin', expected to have son, and had charms then young mothers. But less grandmothers had sexual intercourse at the time of ovulation, took physical care, and practiced fetal education than young mothers 2. On the other hand, no generation differences were found in dreaming of foretelling conception(Te Mong), eating a restroative and food to get pregnancy, and washing own's hair or body and avoiding attending a funeral near the time of baby-delivery. 3. Most of young mothers gave birth in hospital with the doctor's heap, whereas most of grandmothers did at their home with the help of the experienced old women. Most of young mothers'husbands were at the waiting room in the hospital, but about half of grandmothers'husbands were at work when their wives grove birth.