• Korean Architects
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• s.528
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• pp.70-75
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• 2013

• Nuclear industry
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• v.27 no.8 s.294
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• pp.4-8
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• 2007

• Information Systems Review
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• v.2 no.2
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• pp.181-191
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• 2000

• Journal of the Korean Society of Costume
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• v.58 no.3
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• pp.131-148
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• 2008

Each stylistic period through history has its own unique look. The characteristic look of each period is completed and visualized with its prevailing ideologies, aesthetic consciousness and morality by means of 'form'. A period expresses its characteristics in accordance with form according to the widespread preferences of the time. Among the various cultural factors that form the look of the time, those that the period holds as ideal aesthetic values create the concept of 'ideal beauty' for that period. This study begins by establishing the conceptual definition of 'ideal beauty' and develops the premise that dress reflected ideal beauty. To attain the goal of the study, the selected objects are dresses represented in paintings, the actual garments from the Renaissance to Baroque periods and written references about art, art history, and history of costume. The results, based upon a theoretical study of the zeitgeist and aesthetic values of the 16th and 17th centuries, are as follows: first, ideal beauty influences the substance and form that constitute dress style. It is a byproduct of the spirit of time, the zeitgeist. The concept of ideal beauty is born within the lifestyle pursued by the ruling class and focuses on the body as an epitome of beauty, moral values, custom, lifestyle and taste as it becomes visualized via form. Second, the aspect of dress representing the ideal beauty of particular time varied according to the times. In both periods, power and dignity were used to achieve the ideal aesthetic values. In the Renaissance, power was expressed by the horizontal extension of dress (i.e. wide farthingales and sleeves) and in the Baroque period, by vertical extension (i.e. long and tall wigs, fontanges and trains). It can be said that fashion in both periods achieved an ideal, such as power and dignity, via the same means, by extending dress sizes, but the ways in which those ideals were portrayed in each period's dress yielded very contrary styles. It is understood through this study that ideal beauty influenced the dress style of the Renaissance and Baroque periods and played a decisive role in determining its forms and symbolic meanings.

• Journal of the Korean Society of Costume
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• v.30
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• pp.275-294
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• 1996

In fashion there was a move away from the ascetic of the Gothic according to the appear-ance of a new spirit at the beginning of the fourteenth centuries initially in Italy. The new spirit Humanism applied their interest not to the universal but to the individual and particular. The Renaissace costume style based on the Humanism was sharp angled and curvy and had a grotesque silhouette with the exaggerated and tense decorations. The purpose of this study is researching the background led to the balanced costume style characterized by unique details. out of the tastte for luxury and beauty grew a new style known as slashing in which seams were left open and colored linigs thrust through or cuts were made in an entire cos-tume and contrasting material puffed out of the cuts. With the slashes another element was characterized in the high Renaissance cos-tume style that was the use of points or lace to hold a costume together. For the masculint costumes pads became into a fashion and were used for forming the antinatural artificial and bulky silhouettes. The body was distorted and tensed by putting the pads into the sleeves and bodice. The jacket with a full rounded bodice like a bow known as peascod belly and haut de chausses a onion-shaped trunk hose with a codipiece ap-peared and grew one of the most characteristic of Renaissance style. According to these sociological changes the view of the beauty based on the human body and in both of men and women the costume style was changed very much to emphasixed their physical beauty and finally it grew a grotesque style and even more a exposed style that exposed a part of their body. Those backgrounds as were stated above can be said to lead to the appearance of the grotesque style in the Renaissance Age.

• Journal of the Economic Geographical Society of Korea
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• v.19 no.4
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• pp.782-798
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• 2016

This paper discusses the European Union's smart specialization strategy and US manufacturing renaissance policy and then proposes new directions for regional industrial policy in Korea. The smart specialization strategy is summarized as the entrepreneurial self-discovery and strategic coordination; the manufacturing renaissance policy as the construction of industrial commons based on ecosystem; and Korea's regional industrial policy as the build-up of regional innovation system based upon industrial clusters. The policy cases of the EU and the United States demonstrate the fact that regional industrial policy should be geographically embedded. Also, they show the relevance of policy mix by linking industrial policy with innovation policy for cross-fertilization between different industry and technology. In addition, the state plays a role as a coordinator and mediator by embedding the democratic discipline into industrial ecosystems. Considering these points, regional industrial policy should be transformed into a platform system that can facilitate linkage between industry and technology.

• Cartoon and Animation Studies
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• s.13
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• pp.199-210
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• 2008

Nous tentons ici d'une analyse esthetique sur le film d'animation francais "Renaissance". Le film d'animation est un genre du recit d'images. L'on no peut donc le traiter simplement comme les chaines des images sans I'histoire, ni comme I'histoire sans les images. Nous essaions de trouver dans notre etude, un meddle d'analyse sur le film d'animation. L'acces y est commece par expliquer le context du film et son resume de I'histoire. Ensuite, nous travaillons sur les caracteristiques produites par des images(noir et blanc) et des techniques(motion capture). Elles sont considerees comme les traits expressifs, ou les trails formels. Troisiement, on analysr des codes des genres et des sens implicites qui sont presentes dans le film. Apres aborder tous ces prises on comptes, nous les synthetisons dans ie principe d'esthetique. lci, celui-ci est figure comme un accord entre les caractedristiques formelless et les contenus traites. Mais le film n'arrive pas a cette concordance. L'avancee technique et le plaisir visuel que le film nous donne ne sont pourtant pas meprisable memo si I'objectif esthetique du film no s'acheve sur un echec. Notre etude est un peu large afin d'analyser les detailes du film. Nous laisssons cette faiblesss a un autre travail du futur, on etant content sur l'etude qui pout servir a analyser un film d'animation, mame un peu grossierement.

• Journal of Korean Library and Information Science Society
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• v.53 no.3
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• pp.73-94
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• 2022

Florence is the cradle of the Italian Renaissance. It is the result of a combination of medieval humanists' exploration of ancient Greek and Roman knowledge and culture, the leadership of great monarchs and priests, patronage of the Medici family, etc., free-thinking and creativity of artists, and critical consciousness and cultural needs of citizens. However, the Florentine Renaissance could not have blossomed unless the Medici family had collected ancient manuscripts and translations, and built libraries to preserve and provide literature. Based on this logical basis, this study outlined the Florentine renaissance and historic libraries, analyzed the collection and composition of favorite books of the Medici family, and traced the architectural characteristics and metaphors of the Medici libraries, The San Marco Library (Michelozzo Library), Library of Badia Fiesolana, and the San Lorenzo Library (Laurentian Library) were the priming and birthplace of the Florentine Renaissance despite of many difficulties, including earthquake, fire, restoration, transfer, seizure, and closure. In particular, the San Marco Library, which was opened in 1444 based on the financial support of Cosimo de' Medici, Michelozzo's design, and Niccoli's private collections was the first common library in the Renaissance period. And the architectural highlight of the Laurentian Library, which opened in 1571 under the leadership of Giulio (Papa Clemente VII), is Michelangelo's staircase, which symbolizes 'from ignorance to wisdom', and the real value of the content is the ancient manuscripts and early printed books, which were collected by the humanist Niccoli and the Medici family. In short, when discussing the Florentine Renaissance, Medici's collection and historic libraries are very important points. The reason is that the ancient collections were not stuffed products, but syntactic semiotics, and the libraries are telescopes that view the history of human knowledge and culture and microscopes that create knowledge and wisdom. If records dominate memories, libraries accumulate records. Therefore, long breathing and time capsule strategies are also required for the development and preservation of retroactive books in domestic libraries with a relatively long history.

• Journal of architectural history
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• v.15 no.1 s.45
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• pp.61-76
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• 2006

The stage is ceremonial and legendary space unlike the ordinary world. Performance is not simply scrip-staged, but spatial art based on tempo that transmits extreme condition. The stage art is a visual art combined with stage settings, lighting, customs and the like. I exemplify the stage of Middle Age and Renaissance in the history of the art of public performance and so I review that what meditative functions each stage perform and that as what pattern of media it can be conceptualized. In this thesis, I divide the places of public performance Into the spaces of proscenium and polygon and also set up the concepts of hot and cool that McLuhan presents for each space. So, the degree of participation could be different according to the distinction of quantity of information, which is communication following the patterns of spaces. The basis of public performance might be the communication between co-actors and audiences. Since the sense of the art of public performance is the art in the process of establishing the meaning based on the communication with co-actors, it is not a confirmed and fixed one, but rather a reflexive one that can be created and changed continuously. Therefore, audiences should be regarded as the subjects, who are making the art of public performance with co-actors.

• Journal of architectural history
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• v.12 no.3
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• pp.7-18
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• 2003

The purpose of this study is to analyze the plan of central area in Pienza town. The nucleus of the plan was the principal square with the surrounding buildings - Cathedral, Piccolomini, Episcopal and Communal palace, focused attention on the first city plan of the Renaissance. The results of study are as follow: 1. The plan of central area in Pienza town is formed by relation with each other, in which theory including the "De re aedificatoria" of Alberti and practical plan of Pienza were united. 2. Though the plan of Pienza is not total city planning for new function and system, it has a many influence for city planning, square type and building disposition, through new project method as a result of prospective at central area in Pienza town 3. The square plan is formed of centripetal role to integrate with harmony the partial units of each other from diverse elements in scale, function, style and type of buildings, in which it can characteristics of the beginning of Renaissance. 4. Not only composition of plan, elevation and section of the Cathedral, Piccolomini and Episcopal palace, but composition of opennings are formed of proportional system of 1:1, 1:${\surd}$2, 1:2 etc.. And such proportional systems is composed of relation with each other in harmony, deciding width, length and height from among part and part, whole and part for spatial and formal composition.