• 제목/요약/키워드: Feast

검색결과 66건 처리시간 0.025초

한국 복식에 나타난 수의 상징성 (A Study on the Symbolism of the Number Expressed in Korean Costume)

  • 강윤숙
    • 복식
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    • 제50권7호
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    • pp.113-127
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    • 2000
  • The purpose of this study was to examine the symbolic meaning of oriental numbers based on Yin-Yang(陰陽) theory. Based on the thought of Yin-Yang Wu-Hsing(陰陽五行), the number was divided the number of the heaven (positive number) 1, 3. 5, 7, 9 from the number cf the earth(negative number) 2. 4, 6, 8, 10. It was descrived very well in the dress and its ornaments and the folk customs. In the costume of the Court, there were 9, 7, 5, 3 patterns costume for the king and queen. Even though an even number, 12 patterns costume for the emperor symbolized 12 months and made it of the principal of the universe. Korean traditional costume Han-bock(韓服) was formed with the three dimentional principal of circle (圓.$\bigcirc$), square(方.$\square$) and triangularity(角.$\Delta$). In the middle of odd numbers, number 3 was regarded as a holy number of the heaven (天), the earth(地) and a man(人). Taken for a highest number. number 3 had the symbolism of wishes for good fortune. Number 10 and number 100, which meant the fullness and the long life, were used regularly. With Ten longevity patterns(十長生紋), the feast of a hundred-day-old baby, our race prayed for the healthy long life. As mentioned above. the symbolism of the number though the costume prefered the positive number to the negative one. Accommodating to the universal principal and the cycle. The deep meaning and the symbolism of the number has been implied the mental wishes.

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조선시대 연화대무 동기복식 고증 및 재현 (The Costume of Young Girls Damcers is Yon Wha Dae Moo of Chosun Dynasty)

  • 김경실
    • 복식
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    • 제52권6호
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    • pp.1-13
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    • 2002
  • This paper investigated the costumes of young girl dancers in Yon wha dae moo(연화대무: Lotus Stage dance) which were documented on the Ak-hak-guae-bum(악학궤범: Protocol of music) and the Jin-yeon-eui-guae(진연의궤: Archives of Royal Feast). The fashion of the costumes can be changed into three phases, based mainly on the changes of Hap-rip(합립: silk hat), Dan-eui(단의: long jacket) and Sang(상: apron type skirt). In the first phase the costume consisted of Hap-rip, round neck-line Dan-eui and tiered skirt decorated with pleat and Yu-so(유소: decorated cords). In the second phase. it consisted of Hap-rip, v-shape neck-line Dan-eui and skirt without pleat. In the third phase, it consisted of Yeon-wha-gwan(연화관: Lotus shape cap), round neck-line Dan-eui of later era and skirt with pleat and Yu-so. Yon-wha-dae dance appears to be adopted from Ja-ji-mu( 자지무: chinese dance) that originated in West and Central Asia. In both dances. young girl dancers danced mainly jump and spin. The costume of round neck-line Dan-eui seems to have been affected by the fashion in Dang Dynasty when young girls loved to wear Dan-ryung(단령: male coat with round neckline). And it satisfied the need of mobility for the dance which was Performed mainly with jump.

Oligothiophene-based Semi-Conducting Nanostructures: from Solution to Solid-State Aggregates

  • Leclere, Ph.;Surin, M.;Lazzaroni, R.;Feast, W.J.;Schenning, A.P.H.J.;Meijer, E.W.
    • 한국고분자학회:학술대회논문집
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    • 한국고분자학회 2006년도 IUPAC International Symposium on Advanced Polymers for Emerging Technologies
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    • pp.304-304
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    • 2006
  • The possibility to develop optoelectronic devices with improved properties by controlling the degree of organization at the molecular level of organic materials has been driving the design of new ${\pi}-conjugated$ systems. In particular, the organization by self-assembling processes (${\tilde{\Box}}{\d{\Box}}}$ interactions, hydrogen bonding) of well-defined oligomeric systems such as disubstituted oligothiophene derivatives has been demonstrated as a promising approach to conjugated materials with a high degree of structural order of the constituent building blocks. The self-organization of conjugated building blocks in solution or on surfaces, leading to the construction of nanoscopic and mesoscopic architectures, represents a starting point for the construction of molecular electronics or even circuits, through surface patterning with nanometer-sized objects.

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21 세기 로맨티시즘, 걸리쉬 패션 (A Study on the Girlish Fashion as a Romanticism of the 21st Century)

  • 이효진
    • 복식
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    • 제53권7호
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    • pp.111-123
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    • 2003
  • The purpose of this study was to investigate girlish fashion as a contemporary as well as Romanticism of the 21st century. The background of girlish fashion is regarded as a hot blast of restoration and a appearance of kidults, such characteristics of these factors, that is, the moderns's longing for the memory of old days and kidult's concerns for the dream of their childhood, have a direct influence on the Romanticism. So the plasticity of girlish fashion was analyzed as a results: 1) This plasticity named Recurrent Romanticism as 21st New Look, especially the plasticity represented in a princess style fashion. The princess style fashion of girlish fashion means not only a expression of the moderns's self-confidence but also nostalgia toward old days. 2) Sweet Romanticism developed into angel style fashion, which the style expressed the moderate cuteness with clothing construction and detail etc and the innocence with white color. 3) The plasticity of girlish fashion called a feast of color named Fantastic Romanticism. Fantastic Romanticism of girlish fashion means not only a expression of a lovely girlie's image but also hope toward 21st century. Throughout the study, Romanticism as a cultural code of 21st century was considered to reflected in the whole livelihood as well as contemporary fashion, especially, girlish fashion.

열구자탕(悅口子湯)의 문헌적 고찰 (A bibliographical study of Yeolgujatang)

  • 송혜림;이효지
    • 한국식생활문화학회지
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    • 제18권6호
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    • pp.491-505
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    • 2003
  • Yeolgujatang is traditional casserole with meat, fish and vegetables in special pot. Name of Yeolgujatang was in 1800s, as yeolgujatang, yeolgujatangbang, yeolguja, in 1900s, Yeolgujatang, royal feast food in Yi Dynasty was yeolgujatang, Meon-sinseolro, tangsinseolro. Yeolgujatang frame has legs and a lid, and a cylinder that can contain charcoal at the center of its rounded pot. with this charcoal, food can be cooked. Its material has changed from brazier to brassware, stainless steel, and silver. Nowdays electric sinseolro was also launched, which uses electric power instead of charcoal. Materials in yeolgujatang are beef, intestines, pork, chicken, pheasant, fish, sea bream, abalone, shrimps, vegetables, mushroom, ddock, guksu, cooked rice, seasening and garnish. Nutrition of Yeolgujatang per capita contains 221.5kal of calory, 17.3g of protein, 16.5g of fat, 6.1g of carbobydrates, 2g of fiber, 57.6mg of calcium, 208mg of phosphorus, 4.3mg of ferrum, $2177{\mu}gRE$ of vitaminA, 1.58mg of vitamin $B_1$, 0.3mg vitamin $B_2$, 6.6mg of vitaminC and 5.26mgNE of niacin. Yeolgujatang is excellent in nutrition, except for calcium and vitaminC.

색채특성의 융합에 대한 연구 (A Study on Convergence of Color Characteristics)

  • 진연;서보양;김원석
    • 디지털융복합연구
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    • 제16권10호
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    • pp.421-426
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    • 2018
  • 하나의 예술 작품에서 표현되는 정서적 분위기에는 그 작품 자체의 구조적 상황을 묘사하여 나타나는 것과 동시에 색채로 표현되는 것이 담겨 있다. 여기서 색채적 특성은 기쁨, 슬픔, 만남, 이별 같은 감성은 물론 구성의 무거움과 가벼움, 느리거나 빠름 등을 그림에 반영한다. 또한 색채표현의 대비, 조화, 색채의 강렬함, 수수함 등의 시각적인 향연을 통해 관찰자의 시선을 끌어들인다. 색채특성의 융합연구는 그림의 절대면적을 차지하는 색역(color gamut, 色域)이 주된 역할을 하고 그 밖의 다른 색들은 이 색역의 조영하에 빛을 발휘하는 것에 관한 연구이다.

Difference, not Differentiation: The Thingness of Language in Sun Yung Shin's Skirt Full of Black

  • Shin, Haerin
    • 영어영문학
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    • 제64권3호
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    • pp.329-345
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    • 2018
  • Sun Yung Shin's poetry collection Skirt Full of Black (2007) brings the author's personal history as a Korean female adoptee to bear upon poetic language in daring formal experiments, instantiating the liminal state of being shuttled across borders to land in an in-between state of marginalization. Other Korean American poets have also drawn on the experience of transnational adoption and racialization explore the literary potential of English to materialize haunting memories or the untranslatable yet persistent echoes of a lost home that gestures across linguistic boundaries, as seen in the case of Lee Herrick or Jennifer Kwon Dobbs. Shin however dismantles the referential foundation of English as a language she was transplanted into through formal transgressions such as frazzled syntax, atypical typography, decontextualized punctuation marks, and phonetic and visual play. The power to signify and thereby differentiate one entity or meaning from another dissipates in the cacophonic feast of signs in Skirt Full of Black; the word fragments of identificatory markers that turn racialized, gendered, and culturally contained subjects into exotic things lose the power to define them as such, and instead become alterities by departing from the conventional meaning-making dynamics of language. Expanding on the avant-garde legacy of Korean American poets Theresa Hak Kyung Cha and Myung Mi Kim to delve further into the liminal space between Korean and American, referential and representational, or spoken and written words, Shin carves out a space for discreteness that does not subscribe to the hierarchical ontology of differential value assignment.

화학 포스터에 나타난 화학의 코드 (Chemical Codes in Chemistry Posters)

  • 한재영;이기종
    • 대한화학회지
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    • 제52권3호
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    • pp.315-321
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    • 2008
  • 포스터는 시각적 이미지와 약간의 언어를 사용하여 자신의 생각을 다른 사람과 의사소통하는 도구이다. 모든 학문 분야에는 독특한 의미로 구성원들 사이에 공유되는 기호가 있다. 따라서 화학자나 화학을 배우는 학생들은 특징적인 화학적 기호(코드)를 통해 의사소통할 것이다. 대한화학회에서는 2004년부터 전국의 학생들을 대상으로 화학 포스터 그리기 대회를 개최하고 있다. 2004년과 2005년에 3000여 점의 포스터가 출품되었고 150여 포스터가 수상작으로 선정되었다. 수상작은 초등학교, 중학교, 고등학교 급별로 구분되었다. 이 연구는 학생들의 포스터에 사용된 화학적 코드를 조사하였다. 포스터의 시각적 요소와 언어적 요소를 분석한 결과, 액체, 실험기구, 눈금, 화학의 언어, 과학자, 지구와 환경, 주변의 사물 등 7가지 화학의 코드를 찾을 수 있었다. 그리고 화학의 코드에 대해 학교급별 차이, 수상작과 비수상작의 차이, 연도별 차이 등을 조사하였다. 또한 이러한 결과에 대한 교육적 함의를 논의했다.

가례시 절차에 따르는 조선후기의 왕실여성 복식연구 (A Study of the Royal Lady's Dress in Late Joseon Dynasty According to the King's Wedding Process)

  • 김소현
    • 복식
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    • 제59권3호
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    • pp.96-108
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    • 2009
  • This study is made on the royal lady's dress In late Joseon dynasty according to the King Heon-jong and Lady Kyung-bin's Wedding Diary in the year of Jung-mi(1847) and summarised as follows: Girls' full dress was a set of a red skirt, a violet undo. jacket, and a light yellow jacket and a green Gyeon-ma-gi(a kind of top jacket) with he. hair Saeng-meo-ri hanging Do-tu-rak-daeng-gi(a kind of hair ribbon). At the big ceremony, girls wore a green Dang-ui instead of Gyeon-ma-gi. A girl picked up as a royal concubine wore a green Won-sam, which was decorated with gilt letters meaning longevity, patched emblems of gilt letter meaning longevity on the breast and on the back, belted with Bong-dae(a red sash with gilt phoenexes), like a princess's full dress. At the Kyung-bin's installation of Crown Princess and her first greeting ceremony with royal elders, she wore a green Won-sam as a formal dress, which had an embroidered emblem of phoenix, the belt with crystal ornaments, Pae-ok(佩玉), Kyu(圭) of blue jade, Shou(綬) with an phoenix. At a Dong-wrae-yun(drinking ceremony after bride and bridegroom's bowing to each other), she wore the embroidered red Jang-sam as a formal dress. Kyung-bin wore a purple Won-sam with Bong-dae as a full dress for a royal feast. According to the occasions, the same dress was differentiated with ornaments and rotors. Ji-keum-bal was an attire for ordinary ceremony. The attire was equipped with a woven gold green Dang-ui with an emblem of phoenix, a blue gilt underskirt and a red gilt overskirt. No-ui was worn as outdoor clothes. Jang-sam was worn by various classes, so it was differentiated with materials and names according to her class.

최동훈 영화의 사회반영성 -바흐친의 카니발 이론을 중심으로- (Social Reflection of Director Choi Donghoon -based on the Theory of Carnival of Mikhail M. Bakhtin)

  • 이민호;이효인
    • 한국콘텐츠학회논문지
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    • 제13권6호
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    • pp.125-136
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    • 2013
  • 최동훈은 <범죄의 재구성>(2004), <타짜>(2006), <전우치>(2009), <도둑들>(2012) 등의 영화를 만들어내며, 한국의 주류 영화감독으로 인정받음과 동시에 영화의 상업적 성공을 이루어 관객과의 소통에 성공했다. 본고는 최동훈의 영화가 수많은 관객과의 소통에 성공할 수 있었던 것은 시대적 삶을 우화적으로 그리면서 민중 문화적 축제 즉 카니발적 성격을 가졌기 때문이라고 보고자 한다. 이는 미하일 바흐친의 카니발 이론과 맞닿아 있다. 바흐친에게 카니발 이론은 민중문화를 이해할 수 있는 방법이었고, 최동훈 역시 자신의 영화 속 세계를 묘사할 때 카니발 이론의 요소들을 활용한다. 구체적으로는 카니발 이론의 미적 요소 중 탈관과 대관, 권위의 전복과 조롱, 향연의 이미지가 최동훈의 영화 속에서 캐릭터를 통해, 격하와 조롱, 군중의 언어가 대사와 이미지를 통해, 과거와 현재, 시점의 통합이 플래시백을 통해 드러난다. 이러한 특징들은 최동훈 영화에 일관되게 드러나며, 최동훈의 영화는 카니발 이론처럼 민중의 세계를 묘사하고 바라본다. 이것이 최동훈이 영화를 통해 하는 현실반영이자 현실참여이다. 관객은 그런 최동훈의 시각에 동조하고 호응한 것이었다고 본다.