• 복식
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• 제53권1호
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• pp.67-75
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• 2003

From ancient times. lotus pattern had esthetic factor and symbolic factor. Lotus pattern was introduced to China, and it was grafted together with Chinese peculiar culture symbol system, thereafter it has changed and developed. The Chinese taking a serious view meaning that things include, and they frequently use several lucky omen patterns in their everyday life. In this study, I investigated laying stress on symbolism about Lotus patterns of China lucky omen patterns, and I wanted to present possibility that can approach to Chinese culture in new angle. Through result of this study, symbol of Lotus patterns can divide two directions. First, symbol by natural properties of lotus are same as following. 1. Lotus grows in the mud, but it is uncontaminated - clearness and uprightness, 2. Root, branches, loaves and flowers are vegetative together, and all of basis and branches are exuberant. - plenty, 3. Bear fruit simultaneously with blooming, and it is procreant. - fecundity and many descendants. Symbol that use same pronunciation and intention are same as following. 1. 'Lian(연)'-'Lian(연)' : repeatability, continuance, plenty and intercommunicate, 2. 'Lian(연)'-'Lian(염)': integrity, 3. 'He (하)'-'He(화)' : peace, harmony and combination, 4. 'He(하)'-'He(하)' : clear river, 5.'He(하)'-'He(하)' ; all work goes well. When the Chinese use lotus patterns in lucky omen patterns, same pronunciation and pitch of Chinese language more prominent than natural properties or the image of Buddhism. I guess that it cause praying individual's peace and happiness more serious than philosophical meaning or symbol that base in Buddhism for ordinary people.

• 패션비즈니스
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• 제10권6호
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• pp.38-51
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• 2006

In Scythian art the multitude of animal representations well illustrates the preoccupation of this nomadic people with animals in their environment. Usually only wild animals are represented. The purpose and meaning of the animal motifs used in Scythian ornaments appears that in some cases the work was intended to be purely ornamental, while many times the motifs had symbolic meaning (such as the successful dominance of the aggressor over the victim portrayed in the attack scenes). Following earlier Scythian migrations, Sarmatian animal-style art is distinguished by complex compositions in which stylized animals are depicted twisted or turned back upon themselves or in combat with other animals. Without copying nature, they accurately conveyed the essence of every beast depicted. Scythian bound the leather belts that was hanged a hook that shaped of different kinds at the end on the upper garment. Through the antique records and tombs bequests the styles of Scythian Buckles was divided into six groups, animal-shaped, animal's head shaped, animal fight-shaped, rectangle-shaped, rectangle openwork-shaped, genre scene shaped Buckle. In Korea, through the antique records and tombs bequests the styles of Buckles was horse-shaped and tiger-shaped Buckles that were influenced by scythe style.

• 한국언어정보학회지:언어와정보
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• 제13권1호
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• pp.93-125
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• 2009

We examine attributive possessive constructions in Korean in examples like wuli manwula 'my wife' and wuli nala 'my country', where an apparently plural pronoun wuli 'our' is used to convey the singular meaning of 'my.' An example like wuli manwula has been a frequent topic of joke, because it clearly contains the literal sense of 'shared wife.' This type of use and the frequent use of wuli in an exclusive my context led many to claim that these are products of Korean culture which emphasizes groups and group solidarity over individuality, the example wuli manwula being the extreme case. Drawing on the work of Taylor (1989; 1996), Croft (2001; 2003), Haspelmath (1997; 2003), and 윤재학 (2003), we compare the meanings of Korean and English possessive constructions and seek a more linguistically based account for the data. In particular, it is shown that (i) wuli in question is not really the plural form of nay 'my', (ii) the possessive constructions in Korean are more conservative and limited in possible relations than the English counterparts are, and that (iii) these two facts interact to produce the afore-mentioned uses.

• International Journal of Computer Science & Network Security
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• 제21권12호
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• pp.29-34
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• 2021

The Qur'an is regarded as the holy book by Islam followers; they assert that God wants humankind to understand its meanings and implement best practices. Numerous individuals have attempted to understand the meaning of its verses and explore its Extraordinary Vocabulary; however, few people successfully studied and researched the different meanings of that holy text. Only a limited segment of the society comprising scholars, students, and intellectuals have grasped the teachings of the Qur'an. A majority of the general population, specifically youngsters, spend ample time using mobile phones. In this context, many innovative educational platforms have recently been launched to attract the general public to learn and use knowledge. Research has provided the positive impact of such smart platforms. This concept is about an innovative smartphone platform to help users understand and reason the Qur'an by helping with the book vocabulary explained by expert scholars. This work proposes creating an engaging digital format using innovative technologies. This idea is inspired by youngsters who demonstrate an immense interest in online learning. Qur'an vocabulary is the prerequisite to building a better understanding that allows users to get precise meaning.

• 한국조리학회지
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• 제9권1호
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• pp.101-120
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• 2003

The today society comes wind important position we and the economic room gets and our dietary life simple ´it eats,´ is not only the act which is primary work, ´it enjoys,´, ´appreciates´with culture dimension to execute, becoming, it fellowed hereupon and with the aesthetics idea which pursues the quality of change and life of our dietary life there is to a culture and the repast tool which is an essential width enjoyed from meaning as the jar tool and with meaning as the object and it will be able to appreciate it developed it came. The research which it sees the repast fool of the Orient and the West it is appropriate from dietary life and it uses to respect with It observes the understanding of the chopsticks and the cutlery. With the repast tool development and evolution or it undergoes the process of change and comparison analyzes becomes the all chopsticks and the cutlery with each other and the understanding for the culture collision and a culture harmony of the heterogeneous element which bisection is objective of research.

• 한국수학사학회지
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• 제17권3호
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• pp.33-42
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• 2004

상수 ${\varrho}$는 미분적분학뿐만 아니라 실생활에서도 중요한 의미를 갖는 상수이다. 상수 ${\varrho}$의 개념은 1618년 출판된 네이피어의 논문 부록에 처음 나온다. 그 당시의 로그의 발전이 상수 ${\varrho}$를 이해하는 데 기여하였다. 1727년에 오일러가 상수 ${\varrho}$의 기호를 도입하며 명확한 정의와 함께 상수 ${\varrho}$에 대하여 연구하였다. 현재 고등학교에서 배우는 상수 ${\varrho}$의 개념을 정립하는 데 약 100년이 걸린 것이다. 상수 ${\varrho}$의 기원의 연구를 통해 현재 우리 시대에 행해지고 있는 많은 연구가 미래에 큰 의미를 부여할 수 있기를 기대한다.

• 한국항해항만학회지
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• 제28권1호
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• pp.17-22
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• 2004

이 논문에서는 해양사고 통계예측 결과의 의미를 쉽게 이해할 수 있는 3차원 가시화 시스템의 구현에 관해서 기술했다. 이 시스템 개발에는 그래픽 사용자 인터페이스 방식(GUI)과 웹(Web) 기반 가상현실(VR) 기술을 주로 적용하였다. 그리고, 매일의 상황을 예보하기 위하여 시간기반 해양사고 예측모델과 위험수준 지표를 개발하였다. 시스템 작동실험 결과, 3차원 가상공간에 단순한 색으로 복잡한 통계결과를 나타낼 수 있었다. 또한, 매일의 위험수준을 막대 그래프에 나타낼 수 있었다.

• 한국패션뷰티학회지
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• 제2권3호
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• pp.96-101
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• 2004

This study suggests the basic resources for men's cosmetic which shows in history. Because not only ancient chief but also modern French noble men made up in the area where succeeded the traditional national cosmetic, when it was seen through historic or world, the men's cosmetic was generated and was more luxurious and presence than women. But since the French revolution, men was limited the collection of fashion, also the luxurious cloth and cosmetic disappeared. It was 1960s that men's cosmetic based rock musicians reappeared. And then, rock musicians made up luxuriously. The early cosmetic of rock musicians began from the protest's meaning for old fashioned value and fixed society. But gradually, it was changed the style that valued appearance's beauty. In the past, movie star's hair style and cloth were the basic fashion, but now the sportsmen are recognized heroes and their cosmetic is prevailing. Today, the basic meaning of men's presence fashion is that men and women's each role and self expression is allowed and appearance's decoration showed from sex roles disappeared. Men is limited body's beautiful expression and collective range but they fluently express each self imagination through work, special hobby, female attire and drag queen. From various men's beautiful expression, we will know that human beings want a society which is recognizing different self expressions.

• 수산해양교육연구
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• 제27권1호
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• pp.18-28
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• 2015

This study aims to understand the meaning that learning of the old age has, through old age learners who augustly live after retirement-life so called successful silver years. Qualitative research methods is used for analyzing the contents of articles about 15 old age learners and the results are follows below. First, the retirement has dual meaning for the old learners. One is they experienced psychological and emotional insecurity after retirement and the other is it is a turning point for them to realize their longtime dream. Second, the old age learners showed enthusiasm about learning and they voluntarily found the way of success in their silver years. Finally, the old age learners working in new career with provocative and enthusiastic attitude work as a role model of successful old age life and show how they progress. This study argued that we need to consider the old as active agents and the old age as the time when productive and continuous learning can be done. In addition, this study strongly insisted that we need to realize the importance of 'education by the elderly' and social and other relevant conditions are needed to be established immediately.

• 건축역사연구
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• 제7권3호
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• pp.87-105
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• 1998

Surveying the literature of architecture since the nineteenth century, one can identify two dominant but problematic attitudes, among several, that pursue the task of defining what modern architecture is and should be. The first is the search for meaning and the second is the pursuit of form. This study, following Michel Foucault, asserts that the dual formation of meaning and form is a historical product of modernity and belies architecture's uncritical dependence on language since the nineteenth century. This study is a critique and historical analysis of this pernicious reliance, and constitutes a first step towards thinking of alternative relations between 'words and architecture' in the modern world. In reconstructing this problematic, the paper has called on Foucault's seminal The Order of Things. The study follows his construction of the Renaissance, the Classical and the Modern episteme, and in brief fashion, reconstructs the relation between language and architecture in each episteme. In analysing the Modern, the study focuses on Hegel's Lectures on Aesthetics. Hegel placed architecture in a genre hierarchy within which architecture, because of its material basis, was fundamentally limited in its ability to express the Spirit. For Hegel it was, among the arts, poetic language, and beyond art, the language of philosophy, through which the Absolute Spirit could be atttained. Much of post-nineteenth century architecture has remained within the shadow of Hegel, where architecture's materiality is perceived to be a burden, and in order to secure its relevance in modern society, architecture was deemed to pursue the role of language. As the most recent and sophisticated example of architecture's pursuit of form, the paper analyses the work of Peter Eisenman. Though Eisenman's theoretical writings are replete with post-Hegelian rhetoric, his architecture remains dependent upon the model of language, albeit a structuralist one. The paper concludes that ultimately, the pursuit of meaning and form is unable to face the crucial issue of value in modernity. While the former decides to easily what it is, the latter evades the issue itself. The second installment of this ongoing study will pursue a third possibility alluded to by Foucault, where language remains silent, pointing only to its 'ponderous' material existence.