• 한국의류학회지
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• 제21권7호
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• pp.1215-1226
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• 1997

Textiles in Bali have traditionally played a vital role in the social economic and religious life of the people. Textiles defined the status of the individual in term of both costume and wealth. Use of the various textiles is in Balinese tradition dictated primarily by rules of the Hindu-Balinese faith. Cloths and clothing are employed in worship of God and the ancestors. Gold songket patterned textiles are perceived as symbol of wealth and prestige and provide a fitting display of affluence at important cerenlonial events. The specialized pieces of clothing, temple banners and hangings are unique to each tribal group ranging from weft -patterned textiles in Bali. The impact of Indian ideas and techniques was important in the field of textiles, and many of the characteristics in Bali's fabric design derived from Hindu-Buddhist mythology that has furnished subject-matter for songket textile art. The purpose of this study is to examine the background of Balinese culture and to define the characteristics of Hindu-Balinese textiles. The songket textile design also analyzes by examing the techniques of songket weaving and the meaning of design, pattern, and motif. Many design and motifs convey important messages significant only to those familiar with the particular social religious principle of people who have produced them. It is only by seeing cloths in their cultural context that we can begin to understand their true value and meaning.

• 한국의류학회지
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• 제45권2호
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• pp.317-334
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• 2021

This study aims to examine the expressive characteristics and meanings of modern in contemporary fashion, especially focusing on Vogue and The New York Times. First, modern signified originality born out of borderless fusion and compromise. It was also expressed to signify diversity and tolerance not bounded by conventions, TPO, areas, ethnic groups, seasons, or gender. Second, modern meant functionality encompassing the comfort of body and mind. It was used to refer to convenient mobility and activity fit for the lifestyle of busy modern people. Third, lightness and naturalness were used as new meanings of beauty in modern fashion. In the fashion of the twenty-first century, the principal meaning of modern was lightness, which was sought after in everything including materials, modes of wearing, and ways of thinking. Finally, modern fashion was expressed as a democratic tool for social reform and used in the meaning of enlightenment to benefit society as well as oneself. The results of this study indicate that constant changes in trends, lifestyles, and psychology of contemporary society have the potential to give new meaning to the concept and the use of the term modern.

• 건축역사연구
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• 제30권6호
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• pp.81-92
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• 2021

It is generally believed that Seonjeong-jeon and Heejeong-dang respectively served as Pyeonjeon of Chang-deok Palace in the earlier and the later period of Joseon dynasty. However, such belief is based on the concept of Pyeonjeon that emerged after the time of King Soonjo's reign(1800~1834). The concept and functions of Pyeonjeon varied among times ranging from Koryo to late Joseon dynasty. In the earlier Koryo dynasty, the word Pyeonjeon signified both "Pyeonjeon in relation to Jeong-jeon" or "Pyeonjeon as a casual office for the king". The ambiguity of the word was resolved when Bopyung-cheong and Jogye-cheong were established in the earlier Joseon dynasty. These buildings in Chang-deok Palace (and only Bopyung-cheong in Gyeong-bok Palace) held rituals related to events in Jeong-jeon, as well as their exclusive political rituals. Thus, the meaning of the term "Pyeon-jeon" became restricted to its second meaning, namely a casual building for the king's everyday office work and small banquets. However, the ambiguity reemerged from around the time of King Seong-jong's reign(1469~1494). In this period, Pyeonjeon as in relation to Jeong-jeon was often referred to as "Jeong-jeon", or "Beop-jeon" from the mid-16th century. In the 19th century, Pyeonjeon as king's casual office took over the characteristics and functions of Beop-jeon. Thus, the popular notion of "Pyeon-jeon" was newly established and passed onto nowadays.

• 한국실내디자인학회논문집
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• 제13권3호
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• pp.137-144
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• 2004

Museum in each era and society has its own specific meaning. When a museum is viewed from a cultural perspective, it may be apprehended as more than a functional tool for it also represents the culture of that particular time. The role of museum made across each stages are not simply shifts in architectural style, but indicate an evolution in social role and intrinsic function. The purpose of this study is to comprehend the definition of museum and the variety of exhibition design from the ancient days which the term is called 'museum' is used for the first time to beginning of the 20th century. As a result of this study, we can find that the museum is considered the meaning of the place to change according to the social environment more than the place to the collection, conservation, exhibition, education from the beginning. Accordingly, museums should make continued efforts to set cultural guidelines for the general public.

• 영어어문교육
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• 제3호
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• pp.1-12
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• 1997

Errors in EFL writing are very often attributable to learner's inadequate understanding of the target culture. Most of these errors are very hard to identify because they are grammatically correct notwithstanding the meaning. EFL learners almost habitually equate the meaning and usage of a linguistic item when it is present both in the native and the target languages. However, seemingly identical items in both languages sometimes prove themselves to be distinct from each other because of cultural differences. Some expressions in the native language are neither socially acceptable nor meaningful in the target language. Out of sheer ignorance, moreover, one puts a target item in the way he may use it in his native language. For instance. the primary feature of the term "friend" in Korean is [+same age group]. So, a Korean young man is not supposed to call his teacher a friend. This paper aims to clarify patterns of college level writing errors caused by interference of mother culture.

• 한국수학사학회지
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• 제32권3호
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• pp.135-155
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• 2019

One of the reasons students have difficulty in studying probability is that they do not understand the meaning of mathematical terms precisely. One such term is a continuous random variable. Students tend not to think of the accurate definition of continuous random variables but to understand the definition of continuity of functions and the meaning of continuity in probability as equal. In this study, we try to explore the degree of pre-service teachers' understanding on the concept of continuation of functions and continuous random variables. To do this, the questionnaire items related to continuous random variables and continuity of functions were developed by experts and examined by pre-service teachers. Based on this, we make suggestions on implications for teaching and learning about continuous random variables.

• 사상체질의학회지
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• 제30권4호
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• pp.1-10
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• 2018

Objective The purpose of this study is to understand the meaning of Splenic Constipation(脾約) in "Donguisusebowon(東醫壽世保元)". Methods We investigated the provisions associated with splenic constipation written in "Donguisusebowon", "Donguibogam(東醫寶鑑)", "Shanghanlun(傷寒論)" and several papers which related to splenic constipation. Results and Conclusions 1. Splenic constipation in "Donguisusebowon" falls into the category of Soeumin Yang Depletion Symptomatology(少陰人 亡陽病). The symptoms of splenic constipation include sweating and smooth urination. 2. Splenic constipation in "Donguisusebowon", "Shanghanlun", "Donguibogam" is based on fluid deficiency, but splenic constipation in "Donguisusebowon" is focused on sweating unlike "Shanghanlun" and sweating was quoted in "Donguibogam". 3. Splenic constipation in "Shanghanlun" and "Donguibogam" is focused primarily on constipation. The difference is that splenic constipation in "Donguibogam" relates to sweating. 4. Therefore, even if they use the same term, we need to understand that the meaning of splenic constipation in "Donguisusebowon" is different from that of "Shanghanlun" and "Donguibogam".

• Architectural research
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• 제8권2호
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• pp.17-26
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• 2006

This paper attempts to identify the term "tectonics" comprehensively by collecting and categorizing existing definitions of tectonics within the architectural area rather than to stress the concept of tectonics of each specific theorist. Although no consensus of opinion on the concept of tectonics exists, architectural tectonics was closely related to the following terms in three categories: 1. $techn\acute{e}$, technique, and technology; 2. construction and structure; and 3. stereotomics. Based on its etymology, system, and material construct, the notion of tectonics common in these three categories signifies "the art of framing construction," in which linear elements are connected with joints and clad or infilled with lightweight material. Thus, the art of framing construction, as a common concept of tectonics, reveals the following characteristics: First, tectonics is based on framing construction in contrast to piling-up construction as the etymology of tectonics signifies the art of carpentry. Then, the term tectonics, dealing as it does with a higher level of construction rather than the mechanical level of structure, incorporates the poetic aspect of techne as well as the rational aspect of technology. Third, Owing to the organic, double system of tectonic frame and incrusting or infilling materials, the tectonic body becomes both the ornament and the structure simultaneously. As the art of framing construction is based on material construction rather than structural or ornamental form, this paper proposes that one can view tectonics as a term that conveys the meaning of the actual material effect on space.

• 한국콘텐츠학회논문지
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• 제21권10호
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• pp.753-766
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• 2021

본 연구는 단기해외봉사활동에 참여하였던 대학생을 대상으로 봉사활동경험의 의미와 본질을 탐구하고자 수행되었다. 자료는 K도에 소재한 일부 대학에 재학 중인 학생 14명을 2020년 5월 5일부터 8월 30일까지 면대면 심층면담을 통해 수집되었다. 면담자료는 Colaizzi(1978)의 현상학적 방법을 사용하여 분석하였으며 자료 분석 결과 10개 주제와 5개의 범주가 도출되었다. 5개 범주는 '해외봉사활동에 대한 기대감을 가짐', '환경은 다르지만 수용하며 다가감', '예상하지 못한 상황에 당황스러움', '활동의 한계를 자각함', '더 넓은 시야로 바라보게 됨'이다. 본 연구에서 대학생은 해외봉사활동을 통해 새로운 세계를 접하고 환경은 다르지만 수용하고 적응하면서 글로벌 시대에 필요한 좀 더 폭넓은 시야를 갖는 계기를 마련하였다.

• 건축역사연구
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• 제12권4호
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• pp.49-62
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• 2003

Vesely explains, the main source of our confusion and nihilism comes most probably from the ambiguous relationship between modem architecture, technology and aesthetics. Also, to overcome such crucial problems, many theorists recently emphasize to take part in cultural civilization and to preserve creative genes of great culture that is based on our interpretation of 'ethical and mythical nucleus of mankind,' rather than in technical modernization that constitutes a sort of subtle destruction of mytho-ethical nucleus of a society. They for architecture also strongly stress on a mythopoetic imagination and an ontological construction of building, which could make a form symbolic and mythical rather than mathematical and aesthetic representation. On this point, 'myth' becomes a vital idea for constructing and construing architectural form and space. And it is also one of the essential concepts to understand both the motive power of cultural continuation of place and the meaning of architecture. Nevertheless, its meaning and the citation of word in architectural essay are still obscure. It might be because the original concept of myth not only has been lain in the matter of philosophical contemplation. Thus, the intention of the research is focused on lightening the meaning of myth in architectural term. Especially, it is, first, concentrated on interpreting philosopher Ernst Cassirer's reflections which were written in order to emphasize the importance of 'mythical consciousness' for the world's cultural civilization. And, the second, it will continue to interpret the myth as a sign within the semiotic concept of Charles Sanders Peirce, and further to emphasis the significance of mythic signs for the continuance of artistic and cultural idea including architecture. The contents of the paper is not that of architectural planning and design methodology, rather architectural philosophy and epistemology. Nevertheless, in regard to architecture, the research will, against today's un-discriminated use of symbolic motifs and instrumental representation of form, suggest a concrete architectural and aesthetic theory of myth and sign, especially of the relationship between the idea of semiology and the function of cultural continuity.