• 비교문화연구
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• 제21권
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• pp.113-138
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• 2010

This writing verifies ideology producing unethical stratification or discrimination targeting on Grandeur's TV commercial after 2008. And attempts to point out the utopia desired by those commercials reproduces distorted ideology at Korean society. To achieve this, the analysis model was postulated utilizing narratology and semiotics system in application of methodology. The result of discussion, is that the 2008 'Grandeur New Luxury' commercial can have utilized the inflected patriotism and sexual fantasies as the core strategy of storytelling. The fact trebly othering women's body from the point of view of gender ethics can be pointed out as the biggest problem in this commercial. 2009 'Grandeur New Luxury' frankly stimulates costumer's desire of stratum rise and possessiveness, circulating the logic 'owning a vehicle' is a proof of their existence. Also considering the meaning woman narration takes up in corresponding commercial, criticism utilizing feminine signifier as a tool to reinforce male success legend was available. Finally 2010 'The Luxury Grandeur' commercial was able to make a judgement using the mechanism of present consumption culture cleverly which Baudrilliard and Althusser has critically recognized. Because commercial images precisely utilizes the mistake called the 'phantasme-$m{\acute{e}}connaissance$' or the 'reconnaissance-$m{\acute{e}}connaissance$' that consumers easily make. Reminding TV commercials exerts control power against unspecified many sitting in front of the TV, continuous studies with same interest are needed in the future. This writing will be able to have a meaning as attempting narratological methodology for analyzing the storytelling of car TV commercials. But systemizing the criticism about the commercial as a single narrative with going through theoretical supplementation is being respected in the future.

• 한국항해항만학회:학술대회논문집
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• 한국항해항만학회 2003년도 춘계공동학술대회논문집
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• pp.21-26
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• 2003

지금까지의 탄성설계 개념에서 진전하여 소성을 고려한 탄소성 설계 개념의 설계적용이 필요하다 본 연구에서는 선체의 대표적인 구조물인 판을 대상으로 일반적인 하중형증분법 및 변위형증분법과 같은 비선형해석 기법과 호장증분법과 Newton-Raphson법을 병용한 증분형해법을 비교하였다. 특히. 초기처짐의 형태에 따른 해석을 통하여 초지처짐의 형상에 따른 판의 탄소성거동을 규명하였다 압축하중을 받는 박판구조물은 초기좌굴후 거동과 2차좌굴후 거동이 구조물 전체에 미치는 영향이 매우 크며 이러한 복잡한 거동을 구하기 위해서 해석방법으로는 범용 유한요소해석 프로그램인 ANSYS를 이용하였고 특히 호장증분법은 좌굴점에서의 복잡한 비선형 거동을 추정하기 위하여 적용하였다.

• 대한가정학회지
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• 제32권4호
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• pp.241-250
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• 1994

The purpose of this study was to categorize lifestyle patterns and to define the characteristics of the lifestyle of middle class residents in Seoul. Questionnaires were administered to 1572 homemakers in Seoul. Statistics with the SPSS software package for factor analysis and F-test was used. The results showed that the type of car which the residents owned was a major indicator to classify SEC(Socio Economic Class). The middle class was categorized into four groups which were relevant classifications based on determining indicators obtained from previous studies: the lower middle class which owned a Tico was classified into the Economy Concerned Lifestyle category the middle class which owned an Elantra was classified into the Health Concerned and Hobby Oriented Lifestyle category the upper middle calss which owned a Sonata was classified into the Interior Design and fashion Oriented Lifestyle category and the lower upper class which owned a Grandeur was classified into the Hobby and Fashion oriented Lifestyle category.

• 복식
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• 제5권
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• pp.173-183
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• 1981

In 1895(32nd year of King Ko-Jong), Kyung-moo-chung as westernized police system was established and the uniform of the police developed. Regarding to the Uniform of the Kyung-bu-dai-sin(the Minister Kyung-bu) and to that of the Sun-gum(the low position of the Kyung-bu police), the Kyung-bu costume(Uniform of the police) is divided as Ye-bok(Formal uniform) and Sang-bok(Informal uniform). Ye-bok(Formal uniform) is put on in the case of the law described, and Sang-bok(Informal uniform) is an everyday wear. Ye-bok(Formal uniform) is composed of Ye-mo(hat), Eui(jacket), Go(trousers), Dai(decorative belt), Do(decorative sword), and Hwa(footwear). Sang-bok(Informal uniform) is composed of Sang-mo(hat), Eui(jacket), Go(trousers), and Hwa(footwear). Differences between Sang-bok(Informal uniform) and Ye-bok(Formal uniform) is the materials of the ornament, numbers of the decorative lines. Ye-bok(Formal uniform) has more grandeur[ornament. A historic changes in the Kyung-bu costume(Uniform of the police) during the late of Yi Dynasty was little but the decorative materials and the numbers of the decorative line.

• 한국조경학회지
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• 제37권1호
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• pp.65-77
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• 2009

본 연구는 한라산과 더불어 제주 고유의 자연경관이자 원경관(原景觀)이며 제주 이미지 정체성 요소의 본질이라고도 할 수 있는 '오름'경관의 보존과 제주 브랜드로의 활용을 목표로 내국인과 외국인이 느끼는 제주 '오름'에 대한 이미지 특성을 비교 분석하였다. 항공에서 촬영한 총 18개 '오름'의 부감사진을 대상으로 준예비조사와 예비조사를 거쳐 최종 선정된 4장의 사진슬라이드를 평가매체로 연구를 진행하였다. 평가집단은 내국인과 외국인으로 나누어 구성하고, 총 26개 형용사 어휘상에 대한 7단계 형용사 어의구별척도로 이미지 및 선호도를 측정하고 인자분석을 실시하였다. 인자분석을 통해 파악된 인자군은 내국인과 외국인 집단 구분 없이 전체적으로 평온성의 이미지 변인이 제주 '오름'의 경관 이미지를 대표하는 공통적인 이미지 정체성 변인으로 파악되었다. 그러나 이밖에 이미지 주요 변인으로 외국인은 "역동성", "특이성" 그리고 "웅혼성" 순으로 설명력이 높았으나, 내국인의 경우는 "매력성", "웅혼성", "특이성"으로 유형화된 것으로 보아 상대적으로 국내인은 '오름'의 '절대가치로서의 아름다움'을 매력으로 파악한 반면 외국인은 '오름'의 역동적 이미지와 상대적 특이성을 보다 주요한 이미지 변인으로 인식한 것으로 보인다. 요인점수와 선호도와의 다중회귀분석 결과, 국내인은 "평온성", "매력성" 그리고 "역동성"이 선호도를 설명하는 중요 변수로 나타난 반면, 외국인의 경우는 "역동성", "평온성" 이외에 "균일성", "특이성" 그리고 "단순성" 등으로 차이를 나타내, 이는 상대적으로 외국인에게는 '오름'의 형태적 특이함과 단순미 등이 선호도에 크게 영향을 미친 것으로 판단된다.

• 패션비즈니스
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• 제6권2호
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• pp.29-40
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• 2002

Honor guards‘ dress represented by royal carriage parade. This thesis studies the ceremonial dress worn by the ceremonial troops during the Hwa-sung Hang-hang Ban-cha drawing (華城幸行班次圖) in the Chosun dynasty of King Jung-jo. The purpose of this study is to understand the national level ceremony by closely looking into the traditional ceremonial dress and the various signs that were used at these events thereby enhancing the cultural status of the Jung-jo King period. The Hwa-sung Hang-hang Ban-cha drawing(華城幸行班次圖) has its characteristics and also has commonality between the garments worn at these ceremonies. These garments are a traditional heritage brought down from many ages before and is a reflection of the changes that have occurred within our everyday life. Among these many records the Bancha-do(班次圖) is a representation of records that show what was worn by both nobles down to the ceremonial troops. The uniforms of the ceremonial troops were not only huge in size but also very diverse according to rank and grade. They used strong true colors with colorful flags, ceremonial items and musical instruments. These all added to the grandeur of the ceremony. The ceremonial flag was itself a symbol and was the core of the whole ceremony and parade. These ceremonial flags represented the heaven, sun, moon, hill and animals as well as supernatural gods. All these showed change in shape, color and content by age and time. Also the Yongmun Gichi(Dragon flag: 龍紋旗幟) is a supernatural being representing the power and wish of the ruler. The Chunsang-mun represents the indivisible relationship between man and heaven and also a metaphor for absolute power. A close look at ceremonial instruments show a direct representation towards power such as an axe, spear and sword and integrated with other large ceremonial items not only provided a shade but was also a representation of worship. These all were a more or less representation of authority. The musical instruments expressed the absolute authority of the ruler and maintained the marching order and also added grandeur to the parade. A summary of the ceremonial troops in the As seen above, these national ceremonies were a representation of the present power of authority and the will to rule. These ideas and the philosophy of “ruled by heaven” is represented here in the uniforms and the ceremony itself. The Bicentennial anniversary of the Nung - hang of February 1795 will be an excellent opportunity to show and inherit the tradition and recreation of our heritage. In this view we must look at the color and shape of traditional dress to be able to inherit and learn from our ancestors.

• 화훼연구
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• 제16권2호
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• pp.124-127
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• 2008

국내 재배환경에 적합한 다수성인 거베라 소륜계통의 우수 신품종 육성을 위하여 경남농업기술원 화훼육종연구소에서 1999년부터 교배조합 육성을 위하여 국내의 재배농가와 종묘업체로부터 품종을 수집한 후, 2001년 3월에 핑크색 대륜계의 'Grandeur'를 모본, 오렌지색 중 대륜계의 'Songsongee'를 부본으로 인공교배를 실시하여 교배조합으로부터 436개의 종자를 획득하였다. 교배 후 결실이 된 조합은 채종 즉시 파종하였으며, 파종 1개월 후 발아된 378개의 유묘는 본엽이 4~5매 전개되었을 때 화훼육종연구소 유리온실 내의 선발 포장에 정식하였다. 그 후 교잡 1세대를 육묘하여 화색이 선명하고 수량이 많은 우수 5개체(01129-028, 105, 188, 325, 335)를 1차로 선발하였다. 그 후 특성이 우수한 01129-335(경남 G-24)개체를 생장점배양에 의해 개체증식 후 화훼육종연구소 유리온실내의 특성검정 포장에 정식하여 2003년 6월부터 2004년 10월까지 3회에 걸쳐 생육 및 수량특성 검정을 실시하였다. 특성검정을 실시한 결과 화색, 화형, 수확량 등 품질과 수량이 우수하다고 판단되어 2005년 농작물 직무육성 신품종선정위원회의 심의를 거쳐 'Sweety'로 명명하였다. 'Sweety'는 화색이 선명한 오렌지색의 반겹꽃 절화용으로 수량이 많고 안정된 중 소륜화로서 화색과 화심색이 잘 조화된 기호도가 높은 품종이다. 본당 수량은 연간 3회 검정 결과 평균 51.2개이며, 평균 절화수명은 10.4일이다.

• 한국육종학회지
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• 제40권1호
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• pp.80-83
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• 2008

경남농업기술원 화훼육종연구소에서 '98년부터 교배조합육성을 위하여 국내의 재배농가와 종묘업체로부터 품종을 수집한 후, '01년 3월에 핑크색 대륜계의 'Grandeur'를 모본, 백색 소륜계의 'Nova Zembla'를 부본으로 인공교배를 실시하여 교배조합으로부터 284개의 종자를 획득하였다. 교배 후 결실이 된 조합은 채종 즉시 파종하였으며, 파종 1개월 후 248개의 유묘를 획득하였으며, 발아된 유묘는 본엽이 4~5매 전개되었을 때 화훼육종연구소 유리온실내의 선발 포장에 정식하였다. 그 후 교잡 1세대를 육묘하여 화색이 선명하고 수량이 많은 우수 2개체(01128-65, 94)를 1차로 선발하였다. 그 후 특성이 우수한 01128-94(경남 G-22)개체를 생장점배양에 의해 개체증식 후 화훼육종연구소 유리온실내의 특성검정 포장에 정식하여 2003년 6월부터 2004년 10월까지 3회에 걸쳐 생육 및 수량특성 검정을 실시하였다. 특성검정을 실시한 결과 화색, 화형, 수확량 등 품질과 수량이 우수하다고 판단되어 2005년 농작물 직무육성 신품종선정위원회의 심의를 거쳐 'Summer Ring'로 명명하였다. 'Summer Ring'은 화색이 선명한 핑크색의 반겹꽃 절화용으로 수량이 많고 안정된 소륜화로서 화색과 화심색이 잘 조화된 기호도가 높은 품종이다. 본당 수량은 연간 3회 검정 결과 평균 68.9개이며, 평균절화수명은 14.7일이다.

• 대한가정학회지
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• 제29권2호
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• pp.1-15
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• 1991

The purpose of this study was to understand the diversity and speciality of Aztec dress which has not been well known, and to overcome ethnocentrism in clothing perceptions. From 15 century to early 16 century, the Aztec empire based on the unique view of the world, most flourished in Mesoamerica. Ritualistic and official side of Aztec life was reflected well on dress. Most Aztec garments consisted of unsewn pieces of cloth, draped on the body as loincloth, mantle and wraparound skirt. Slightly more complicated garments such as women's blouses(huipils) and men's simple jackets were created by sewing together two or more pieces of material. In the sharply stratified world of Aztec, strict sumptuary laws controlled dress. The garments of lower classes were made of maguey or yucca fiber, and only the upper classes were allowed to wear cotton clothing. In addition to material, color, elaborateness and even manner of tieing the mantle were carefully controlled by government edict. As the Aztec empire expanded and became wealthier, the sumptuary laws could not actually dictate what people wore everyday but rather provided a set of rules governing clothing for ceremonial occasions. Aztec's warrior costumes, consisted of headdress, towering back devices, feather garments, were sufficient to suggest the theatrical grandeur of what must have been one of the most magnificiently attired armies ever assembled.

• 복식
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• 제40권
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• pp.171-180
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• 1998

This is a study on the Men's Underclothes of Renassience Ages. The changes associated with the Tudor regime were sufficiently profound to afect the nature and purpose of underclothes. Ceasing to be merely a layer serving to protect the skin, they now began to assist the external costume of both sexes in expressing class distinction. In order to attract still greater attention, the edge of the shirt was ruffled at the neck, a decoration which soon developed into a separate accessory, the ruff. The waistcoat, which originally was an under-garment, was shown, when the doublet was taken off, en deshabille. Thus we see that for men in the sixteenth century the undergarment was no longer an obscure drudge, but was promoted to serve in the general mode of expressing what the whole costume so extravagantly announced ; and likewise to share in that extreme degree of the social superior. The pinched waist of both sexes was not so much for sex attraction, but to signify social superiority. In the period under considera-tion, then, from the Tudors to the end of the Jacobeans, the new function of underclothes was much the same for both sexes ; to exploit the grandeur of the costume as evidence of rank, and only by that indirect method to add to the wearer's sex attractions.