• 한국수학사학회지
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• 제21권1호
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• pp.157-166
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• 2008

본 논문에서는 수학 학습에서 의사소통 방법 중의 하나인 대화법에 초점을 두어, 먼저 소크라테스의 교육철학을 살펴보고, 수학적 의사소통의 효시라 일컬어지는 소크라테스의 대화법과 고대에서 현대까지 교사와 학생사이의 대화 형태로 존재하는 다양한 수학적 의사소통의 예를 살펴본다.

• 건축역사연구
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• 제29권6호
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• pp.113-128
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• 2020

The king of Joseon Dynasty Jeong-jo commanded the renovation of Seongjeong-gak, once a study for crown prince, to serve as Pyeonjeon(便殿), a main office for kings. The renovated building strictly separated the routes designated for the king and the other officers, respectively. The interior space consisted of Youngnae, reserved for the king and his senior aides, and Youngwae, for lower ranking officers. Youngnae(楹內) and Youngwae(楹外) corresponded to the two blocks (the space between two columns) on the east and west side, respectively. Such structure of Pyeonjeon was heavily transformed over several occasions beginning from the late nineteenth century. Youngwae was subdivided into separate spaces, and the routes for the king and the officers became indistinguishable.

• 미국학
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• 제44권1호
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• pp.137-154
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• 2021

Due to her successful novel Little Women (1869), Louisa May Alcott has generally become known as a writer of sentimental fiction. However, her thrillers demonstrate her keen insights into domestic and international issues. Alcott's so-called "left hand" shows her stances on political and historical issues in America as well as in Europe and Asia. Particularly, Alcott's supporting voice for women against social prejudices is metaphorically portrayed in "A Whisper in the Dark" (1861). Interestingly, in the story Alcott displays her knowledge of the drug trades and the cultural effects of white male colonizers exploiting other peoples and countries around the globe, which were issues that she had learned about from neighboring intellectuals and newspapers. In the paper, I examine Alcott's radical views on gender equality, chauvinistic attitudes, and transnational politics in the mid-nineteenth century.

• 미국학
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• 제44권2호
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• pp.159-191
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• 2021

"In the United States, you almost never say that virtue is beautiful," Alexis de Tocqueville reports in Democracy in America. Yet Ralph Waldo Emerson, arguably the most prominent American moralist in the nineteenth century, stands as an exception to Tocqueville's generalization. This article explores Emerson's perspective on beauty in the moral education of democratic citizens. His interest in this aesthetic category partly stemmed from his deep concern about both the moral inaction and interest politics in commercial culture. As a response to the crisis, Emerson conceived ethical beauty as a key promoter of public-minded democratic citizenship as exemplified by the American abolitionists, and his own practice as a poetic moralist further illustrates this belief. Emerson's aesthetic approach to the cultivation of public virtue in liberal democracy offers a meaningful comparison to contemporary neo-Tocquevillian emphasis on the language of interest or duty.

• 아시아태평양코퍼스연구
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• 제3권1호
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• pp.21-34
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• 2022

This study aims to apply corpus-based approach to analyze The Yellow Wall-Paper and Herland written by Charlotte Perkins Gilman, a women's rights activist in the late nineteenth-century America. Although both works have attracted feminists' attention to the woman question that concerned Gilman, discussion on her language features and their relation to the literary themes of these two works is still in need. In this corpus-based analysis, we argue that the main themes of different literary works can be revealed through linguistic patterns identified by number and gender features of nouns and pronouns in the contrast of two works and a balanced corpus. The linguistic features (number and gender) have been related with two themes, the 'group and individual' and the 'feminine and masculine', and are further interpreted in terms of mothering and feminine consciousness. By adopting linguistic approach, our study provides quantitative and qualitative evidence to verify the established themes and arguments of these literary texts.

• 수완나부미
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• 제11권2호
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• pp.85-105
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• 2019

Investigating the clash among different forms of international relations has been a frequent issue in modern research and attracts interest in the fields of history and politics. In the nineteenth-century, Asia witnessed a fierce struggle between traditional relations in Asia that existed during the feudal period, that of "The Heavenly Dynasty, China and its vassal states"; and a the new form of relations introduced by the West, that of relations between "colonial powers and colonized countries." As a result, the formation of "colonial societies" in Asia with very specific features was established. However, as stated by Vu (2015), for many reasons, which include the lack of material resources, the politically sensitive nature of the object, and the focus on gains and losses in previous studies, there were little studies on the process of demarcating the Tonkinese border between Franco and Chinese in Vietnam, especially from a globalization perspective. This study thus aims at examining the issue of the demarcation of the Tonkinese Border between Franco and Chinese (1885-1895), in view of globalization, as a case study for the transition process of the modern history of Vietnamese society.

• 복식
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• 제58권2호
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• pp.78-92
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• 2008

The mutual relationship between fashion and architecture and the similarities in their form and structure have been continuously debated over the decades, considering that both spheres are objects used in human life. Both spheres bring about the creation of three-dimensional space structures that are completed by the human body and material, based on a design targeted for people. The similarities between fashion and architecture in terms of form and structure have been debated by western architecture scholars focusing on the support that holds the garment's shape, the tailoring of a men's suit and also the material. The debate originates from the discussion of F. Th. Vischer, Kritische Gnge, and Gottfried Semper during the nineteenth century on the similarities between crinoline and the form of architecture and also the similarities between sewing and architecture. However, architects always regarded fashion as the inferior creative process that follows architecture in viewing the relationship between fashion and architecture. During the mid to end of the twentieth century, contrary to previous decades, the sense of fashion in architecture stood out, as an issue and a different approach was taken in discussing architecture that incorporates fashion. Accordingly, in the mid 1990's, architecture scholars such as Deborah Fausch and Mark Wigley began to conduct close observation of the mutual relationship between fashion and architecture from a more equal point of view. Notwithstanding, their point of view was still biased towards architectural standards. Commencing the Millennium, fashion has become the primary work of creation which leads style in all spheres, and under these circumstances this point of view has transferred from architecture to fashion when thinking about relationships between these spheres. The discussion on fashion and architecture form fashion's point of view is currently concentrated on the post 1990's phenomenon and illustrates the environment that is related to architecture. In general, the discussion is limited to determining a work of an individual designer as 'being architectural' when explaining the sculptural form of fashion. Therefore, this research aims to renew the discussion on twentieth century fashion design, which was neglected in any studies on observing architecture and fashion. The aim of this research is to classify the architectural paradigm of twentieth century fashion design and to observe the architectural forms of the respective eras. It is necessary to have a close observation of the architectural paradigm in twentieth century fashion design where support tools such as the crinoline was avoided and the form and functionality of the garment itself was emphasized. I will conduct this research by considering the architectural form shown in fashion as a practical three-dimensional creation that exists in space.

• Communications for Statistical Applications and Methods
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• 제15권5호
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• pp.737-752
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• 2008

오차에 대한 분석은 18세기 천문학과 측지학에서 시작된 뒤, 19세기 초 가우스와 라플라스에 의해 정규분포 및 최소제곱법과 결합되면서 오차이론이라고 불리기 시작하였다. 19세기 중엽 벨기에의 케틀레는 자연과학의 관측결과를 분석하는데 쓰이던 오차이론을 사회 데이터에 적용함으로써 사회 연구를 보다 더 과학적인 연구로 만들어보려 하였다. 그는 사회데이터에서 개인의 특수성을 배제하고 집단의 보편적인 사실만을 나타내는 '평균적인 사람'이라는 개념을 만들었다. 또 그는 비슷한 조건에 있는 여러 사람을 측정한 결과는 단일한 대상을 반복측정한 결과와 마찬가지라고 보고, 천문학의 오차이론을 사회데이터에 적용하였다. 이 논문에서는 오차와 정규분포가 사회 연구에 도입되면서 새로이 나타난 개인과 집단의 관계를 비롯하여 오차이론에 대한 반대 의견들, 오차를 대신하여 나타난 용어 등을 중심으로 19세기 중반에 통계학의 영역이 확대되는 과정을 살펴보았다.

• 패션비즈니스
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• 제3권3호
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• pp.39-48
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• 1999

The purpose of this study is to examine closely the aesthetic characteristics featured in dandy's costume. Dandy was term used on for a man excessively fond of and overly concerned with clothes, exemplified by Beau Brummell, Lord Byron, and count d'Orsay, who greatly in gluenced men's fashions in England and France. In the late eighteenth and early nineteenth century George Brummell, the prototype of the dandy, made upper-class English country clothes, especially riding clothes, into the height of men's fashion in the city. In the early 1800s the alterations he made, particularly with regard to fit and cut, established these as the critical signifiers in men's dress. Brummell's style, particularly for day, was essentially restrained and disciplined, and set a standard for sober discretion, appropriateness and taste which governed men's clothing until well into the twentieth century. The aesthetic characteristics expressed in dandy's dress are the aristocratic superiority of mind, the restrained beauty in absolute simplicity, and the pursuit of the individual beauty. Brummell's kind of dandyism instigated the idea of establishing a new kind of aritocracy, an aritocracy based on talent. Over the years this kind of cultural and social coup has been played out in different ways but has remained, like the twentieth-century concept of the avant-garde, a fundamentally male preserve. He advocated unobtrusive darkblue fitted coats, cream-colored trousers, elaborately tied cravats, absence of showy fabrics or excessive decoration, and impeccable grooming. The status of the perfectly tied cravat as the hallmark of genteel elegance, as the last keystone of Fashion's arch, had been established by Beau Brummell.

• 한국의류산업학회지
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• 제4권1호
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• pp.19-30
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• 2002

The word 'lace' comes from the Latin, lacium, meaning a knot. There are two broad categories of lace: needlepoint lace and bobbin lace. Lace has enjoyed a multitude of uses, embellishing both liturgical and domestic objects. It has also played a major role in the history of western fashion, adorning the apparel of men as well as women. Lace lappets and cap crowns, cravat ends and veils were made for those who could afford them. Before the end of the sixteen century, more complex techniques were employed. The baroque period, needlepoint lace evolved from the early simple geometric patterns of punto in aria Which enhanced ruffs, to deeply scalloped designs, often referred to as collar lace, and thence to the bold and magnificent relief effects of Venetian gros point. Through the seventeenth century is noted for the infinite variety of its cravat, collar and kerchief, most of them lace trimmed and all artfully contrived for the wearer. The type of sleeve in women's dress reaching just below the elbow, ending in ruffles of lace which was called engageantes. Sometimes the ends of a fichu or headdress decorated of lace. In the nineteenth century, empress Eugenie's love of lace resulted in a marked increase in the use of that lovely, delicate fabrication. It was lavished upon sleeves, hats, capes, and handkerchieves. Entire flounces, parasols, jackets, and shawls of lace were created by skilled lace makers of Europe. By the time this magnificent piece was created, most lace was being produced by machine. Today, the tradition of handmade lace continues, but glorious examples are no longer made. However, the techniques have been taken up and revitalized within the fiber art movement.