• 대한지리학회지
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• 제37권1호
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• pp.93-110
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• 2002

본 연구의 목적은 경북 영양군 요원리를 사례로 경지개간과 연계한 토지이용 변화와 특성을 분석하는 것이다. 나타난 결과를 보면 다음과 같다. 첫째, 경지개간은 대부분 19세기후기가지와 1960년대에 이루어졌다. 논의 개간은 물을 구할 수 있는 계곡에서, 밭의 개간은 1960년 이전에는 취락과 가까운 지점에서 그 이후로는 경사도가 낮고 넓은 구릉지를 중심으로 개간하였다. 둘째, 상업적 농업 이전인 19n년대의 토지이용은 감자. 조, 콩 등의 잡곡 중심이었으나 1970년대 이후로는 고추. 담배, 고랭지 채소 등의 상업적 작물로 대체하였다. 셋째, 토지이용 변화(작물선택)의 주도적인 세력은 산지주민들이다. 본 연구는 다음과 같은 의의가 있다. 첫째, 경지개간과 연계하여 토지이용변화 및 특성을 설명하였다는 것이다. 둘째, 소규모 마을을 대상으로 미시적으로 연구하였다는 점이다.

• Korean Journal of Acupuncture
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• 제27권1호
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• pp.159-168
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• 2010

Objective: ZhangJinYoPian(藏珍要編, ZJYP) is a book witten by Song-WooGe in the late 19th century. While Korea has lost this book to tell us Korea traditional acupuncture treatment in the late 19th century, This book appeared as a manuscript in Japan. There is no reaserch or study carried out for this book. Furthermore, a few people know existence of this book. So I analyzed acupuncture treatment of the ZJYP and sort out the distinctive feature of it. Method: For that, I studied bibliographic information of this book and classified contents of it into three parts - medical thought, needle manipulation and acupoint selection to consider it's caracteristics. Results and Conclusions: 1. The author of ZJYP thought that weakness of good power in the body and strongness of evil power out of the body cause a disease. so Doctor should examine quality of both to care patient's pain. 2. The author of ZJYP thought that needle manipulation is one of the most important thing. Doctors can use needle manipulation to control patient condition. Especially, he suggested cooling and heating manipulation except reinforcement and reduction. 3. He stressed viscera and bowels. he located viscera and bowels theory in front of the book to explain relationship of these. It shows us that ZJYP maintained academic characteristics of acupuncture in Chosun-Korea. 4. While He minimized the number of acupoints used in treatment, he multiplied its combination. He selected one or two acupoints from each meridian pathway. It include Eight Confluent points(八脈交會穴). But these points were used in different ways to control the viscera and bowels, not to care the eight extra meridians.

• 보존과학회지
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• 제27권3호
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• pp.291-300
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• 2011

고고지자기 연대측정법은 소토에 남겨진 열잔류자화를 통해 과거의 지자기 변동을 측정하여 소토가 출토되는 고고유적의 연대를 알아내는 연대측정법이다. 특히 유물이 출토되지 않거나 하여 고고학적으로 연대를 추정하기 어려운 소토를 가진 유구에 대한 연대추정에 유력하게 이용할 수 있다. 삼가마와 회가마도 이러한 유구에 해당되는데, 국내에서 조사된 삼가마와 회가마에서 채취한 소토시료를 측정하여 각각 21점과 5점의 정밀도 높은 데이터를 구할 수 있었다. 이 데이터를 통해 가마들의 고고지자기 연대를 측정해 보았는데 삼가마의 고고지자기 측정연대는 A.D. 10C후반 ~ 19C 중반경이며, 회가마는 A.D. 16C초 ~ 18C중반경이었다. 데이터의 수에서 회가마보다 삼가마가 비교적 많기도 하지만, 삼베가 오랜 기간 사용되어왔던 것에 상응하게 삼가마의 연대는 시기 폭이 넓으며, 회가마의 고고지자기 연대는 그 중심연대가 회격묘가 조선후기에 유행한 것과 시기적으로 일치하며 상대적으로 짧은 시기 폭을 가진 것으로 추정된다.

• 복식
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• 제59권3호
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• pp.131-144
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• 2009

This study is about single-layered $Chog{\breve{a}}ri$ excavated from SongHyosang(宋效商, 1430-1490, SHS hereafter), SongHeeJong(宋喜從, the late 1500s, SHJ hereafter) tombs. There are 7 single-layered $Chog{\breve{a}}ris$ for men. We focus on comparison of their design and sowing method. 1. Design: Investigating collar, $Chog{\breve{a}}ris$ from SHS have MokpanGit and $Chog{\breve{a}}ris$ from SHJ have KalGit. KalGit has been seen from SHJ to 17th, 18th and 19th centuries. After the late 1500s, there is no MokpanGit single-laTered $Chog{\breve{a}}ri$ for men. Side panel under arm has various shapes(triangle, trapezoid, triangle+trapezoid) in 15th century. After the late 1500s, It changes into no side panel. Two $Chog{\breve{a}}ris$ with no side panel from SHJ reveals that the late 1500s is a period of transition. 2. Sewing method: First, researching lengthwise grainline of the fly, the left fly has lengthwise grainline outside In four, inside in three. The right fly has lengthwise grainline outside in just one, the others have lengthwise grainline inside. Compared with today's way, there is a great difference, but in those times there isn't an established rule. This is true of side panel under arm. The sewing method are backstitch, running stitch, and hemming. Researching the construction method of seam, in putting two selvages together, open seam and plain seam are used. In putting selvage and bias, bias and bias together, flat felled seam and french seam are used. This study shows that single-layered $Chog{\breve{a}}ri$ far men from 15C. to 16C. has changes of design such as collar(Git) and side panel undo. arm. But there is little change in sewing method.

• 복식
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• 제57권5호
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• pp.166-182
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• 2007

The purpose of this study is to reinterpret sexuality represented in fashion since the latter half of the 19th century in a contextual view, on the basis of Foucauldian idea of post-structural sexuality. As for research methodology, literary research was undertaken from the conception of sexuality to a historical review of the culture and dress. Foucault maintains the view of plural sexuality, which floats by power relationship between dominant and oppositional discourses in a specific historical context. In contextual approach sexual ideology codified in fashion since the latter 19C shows the following aspects: First, the traditional sexual ideology in the latter 19C is a capitalist value, which gives a priority to bourgeois man's profits, and the Victorian discourses of sexuality constructs the dichotomized fashion of the period. Next, the former half of the $20^{th}$ C is regarded as the period of conformity rather than opposition with various alternatives appropriated to the mainstream, so the traditional sexual ideology in fashion of this period is still preserved. Finally, in post-capitalism period of the latter 20C a variety of anti-fashion visualized plural sexuality from the enormous oppositional discourses. Although it doesn't all mean deconstruction of sexuality in fashion by the anti-fashion re-appropriated without oppositional meanings, pluralization of sexuality implies dynamics of sexual discourses in the next historical period. As a result, fashion since the latter 19C has been changed as a means for expressing age and sexual desire out of gender and class. And mainstream fashion in even postmodern period keeps the modern value on the center of the hegemonic heterosexual masculinity though the increase of Androgynous Femininity in women's fashion may connote the meaning of femininity. The plural sexuality represented in fashion has a contextual flexibility, thus sexuality floats with a specific socio-cultural context and fashion represents a masquerade as an identity vehicle.

• 복식
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• 제56권5호
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• pp.105-117
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• 2006

The purpose of this research was to understand the process of American women's adoption of knickerbockers from the mid-nineteenth to the early twentieth century. Articles and advertisements related to women's knickerbockers found from The New York Times were used as primary sources. Before 1920, women wore knickerbockers when they participated in sports including gymnasium, bicycling, and swimming. Knickerbockers were mostly worn with overskirts when women appeared in the public. Therefore, knickerbockers were categorized as underwear in the advertisements until the late 1910s. However, knickerbockers were even worn on the streets and in offices after American women gained suffrage in 1920. As more women adopted knickerbockers during the 1920s, the public criticisms and regulations on women's knickerbockers intensified. However, the articles on women's knickerbockers gradually disappeared from The New York Times, as they went out of fashion by the end of the 1920s. Considering the social situation and the change in womanhood during the period, I concluded that American women's adoption process of knickerbockers reflected the increase in women's mobility, and the change in gender roles and the definition of femininity.

• 영미문화
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• 제9권1호
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• pp.163-184
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• 2009

Sherman Alexie deals with reservation realism in The Lone Ranger and Tonto Fistfight in Heaven and Smoke Signals. By reservation realism he means American Indian traditions and its problems like alcoholism, violence, unemployment, depression, and poverty on the reservation. It cannot be denied that the traditional ceremonies have played significant roles in making it possible for American Indians to keep their own ethnic identities. It is, however, also true that the same traditions have prevented them from embracing modernity. Alexie believes that it is high time that Indians living on the reservation discarded the old tradition of racial exclusiveness for a gradual crossing of cultural borders. What is seriously needed on today's reservation is not the historic figure of Crazy Horse, a stoic and masculine warrior in the late 19th century, but Sacagawea, a Shoshoni Indian who helped Meriwether Lewis and William Clark to explore the American West in the early 19th century. When asked to be more specific about cross cultural examples, Alexie proposes successful Indian doctors and lawyers as role models on the reservation.

• 패션비즈니스
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• 제25권6호
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• pp.102-118
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• 2021

The purpose of this study was to derive the characteristics of fashion that appeared in the daily life of bourgeois women in Paris in the late 19th-century, and to examine the attitudes women showed toward fashion in the modernized city of Paris. The research method was a literature study and a visual data analysis study targeting fashion of bourgeois women from 1860s to 1900s out of Mary Cassatt's 155 works and Berthe Morisot's 147 works from Wikiart's digital images. The characteristics and attitudes showed in fashion in terms of women's painter's work, women's daily life, and women's space are as follows. First, while the subject matter of their works was restricted to the house, fashion was described with the sensual colors, elegance, and sophistication anticipated of a woman's nature. The represented attitude toward women and fashion includes advice for pursuing the dignity of maternal love and women's intellectual life, as well as an attempt to reflect a current point of view on the woman image. Second, the daily life of bourgeois women was childcare, needlework, reading, and grooming. They valued socialization and entertainment as well as intimacy and education with children, so they wore different clothes depending on the situation. This suggested that it was necessary to dress appropriately both at home and when going out. Third, despite the fact that the public space for women was limited, they dressed elegantly in a variety of trends when they went out. This was fashion worn only for appearance.

• International Journal of Advanced Culture Technology
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• 제11권3호
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• pp.268-276
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• 2023

Ukiyo-e, a pivotal facet of Japanese art, had a profound impact on Western art during the 19th century, contributing to the emergence of Impressionism and Post-Impressionism. Notably, Katsushika Hokusai's "Great Wave" remains an enduring masterpiece. Ukiyo-e's historical trajectory is intricately linked to the socio-cultural context of its time. Japan's early artistic influences derived from China, evolving through the Nara and Heian periods. Ukiyo-e emerged from the Yamato-e tradition, characterized by its transition from religious themes to secular subjects. Zen Buddhism's influence during the Muromachi Shogunate shifted focus to ink wash painting, which eventually became accessible to the masses. The Azuchi-Momoyama period introduced lavish, colorful works. The Edo Shogunate upheld Kano School for the elite, while folklore painting gained popularity among the commoners, leading to the creation of Ukiyo-e. Ukiyo-e diversified its subjects, including beauty, geisha, sumo, landscapes, and more. The Asakusa district's "Shin-Yoshiwara" added to its vibrant themes. By the late 19th century, Ukiyo-e transcended its roots, encompassing landscapes, wildlife, and beyond. I explore Ukiyo-e's aesthetics and its influence on Impressionism, focusing on "The Three Masters of Ukiyo-e" - Kiyotagawa Komaro, Katsushika Hokusai, and Utagawa Hiroshige.

• 한국의상디자인학회지
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• 제7권2호
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• pp.25-37
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• 2005

This is a study on the origin of fashion imaging. First of all, 1 looked into the history of French fashion printmaking from late 16th century to early 19th century. Then studied the changes in the characteristics of context and form over the different periods and summarized each concept. At the same time, I looked into the process of fashion magazine evolving from fashion printmaking. In order to find out how fashion printmaking dealt with the characteristics of fashion media, 1 researched the commercial environment of fashion printmaking and reorganized the methodology of its media's role. Such analysis and results helped to reach a definition on how to regulate fashion printmaking. Fashion imaging was sparked by a small curiosity. As people began to be rage over new things, it came to introduce the fashion leaders of the public combined with the attributes of trend. At times when changes were so big that they were unpredictable, it itself became a fashion leader. Then a fashion creator emerges and it's function changes to that of a communication media. Moreover, the regular issuance of fashion printmaking implemented the concept of trend cycle and fashion imaging completely fulfilled the conditions of a communication media. The massive increase in the production of fashion printmaking and magazine contributed to the spread of fashion and the diffusion of printmaking lead to mutual complementation and synergy necessitated by fashion. Thus, the democratization of fashion and the commercialization of printmaking art occurred at the same time.