• 철학연구
• /
• 제121호
• /
• pp.1-24
• /
• 2018

본 논문의 목적은 영혼의 질병과 치유와 관련된 고대 논변들을 통해 플라톤이 말하는 정신의 질병과 건강은 무엇인지 알아보는 것이다. 고대 그리스에서 의학은 몸의 건강을 돌보는 것이었다면, 철학은 영혼의 건강을 돌보며 삶을 변화시키는 것이었다. 따라서 정신적 질병의 개념을 규정하는 것은 의학의 영역이기보다 철학의 영역이며, 철학의 실천적 기능은 우리의 영혼을 돌보는 삶이다. 그리고 영혼을 돌보기 위해서는 영혼의 질병은 무엇이며 어디서부터 오는지에 관한 진단이 우선시 된다. 플라톤은 정신적 질병을 (1) 국부적인 뇌의 문제가 아니라 인격의 총체적 문제이며, (2) 이는 불균형과 부조화에 기이하는 것으로, (3) 무지 또한 정신적 질병이라 할 수 있다고 말한다. (4) 더 나아가 그는 부정의와 악덕 역시 정신적 질병이라고 진단하며, 정신적 질병의 문제를 개인을 넘어서 국가의 문제로 확대시킨다. 결과적으로 플라톤은 철학의 목적을 영혼의 건강을 유지하기 위해 덕을 가지고 공동체 속에서 정치적 정의를 이루어 나가는 것이라고 주장한다.

• 한국의상디자인학회지
• /
• 제2권1호
• /
• pp.75-95
• /
• 2000

The purpose of this study were: 1) to understand the meaning of color according to the culture 2) to develop color and color arrangements in the thoughts of the East and the West.. The meaning of color on the dyed clothing was investigated through the book written classified with yin, yang, five color elements and Christian color system. The results were as follows; 1. Red wedding dress used the meaning of prevent badness and American used to resist for England in the War of Independence. 2. White wedding dress meaned innocent, gladness to the ancient Greece, Rome and Gothic Christian in the West, and it meaned a dead daughter in Japan, East, 3. Blue clothes meaned lucky in the East and meaned sacredness and love in the West. 4. Yellow was the color of the Emperor in the East, and it meaned death, betray in the West. 5. Black meaned badness in the East, and it meaned sadness in the West.

• 건축역사연구
• /
• 제16권3호
• /
• pp.21-38
• /
• 2007

If we take account of the 'Architectural Tradition' which aims a construction of better environment, we can see that this tradition has ended historically toward Utopia. It is a continual trend from ancient Greece to contemporary epoch in each transitional periods and especially in the Renaissance Era. Utopia is an ideal commonwealth in which inhabitants exist under perfect conditions, ideally perfect places or state of things. The plans of utopia are complete projects of image, its goal is an social, political and economical improvement according to the eras. Its plans are characterized by rigid geometrical pattern as circle and square, which contain generally center axis symmetry enclosure. Recent urban and architectural circumstances no longer reflect utopian visions. Since the latter of the 20th century, it appears dystopia on the contrary. Therefore, the utopian ideal city and architecture describes characteristics of the era unlike the continuity of its concept.

• 패션비즈니스
• /
• 제5권3호
• /
• pp.129-143
• /
• 2001

The purpose of this study is to pigeonhole theoretical notions of asymmetry and historical flow of asymmetry designed dresses, understand the trend of asymmetry design in modern fashion and find out its plastic character. The result of this study is as follows. The asymmetry is un-harmony artistic structure that unbalanced left and right in designing. The asymmetry fashion were seen that drapery dress of Egypt, Greece, Rome in ancient times and design by strong color contrast in heraldry and hose, accessory in the middle ages. In modern times, it was seen as complicated and mixed appearance by the influence of post-modernism. The asymmetry designs in modern fashion are shown varied styles by asymmetry of silhouette, detail, fabric, wearing method. The characters of these are a sense of de-construction, formative sense, and exaggeration The asymmetry design must be made by cutting, sewing, and high degree of technique through the latest skill and study.

• 복식문화연구
• /
• 제11권5호
• /
• pp.657-670
• /
• 2003

It is quite common today for bride to wear white-colored wedding-dress in wedding ceremony. When does the color date back to? What does the “white” mean? Which other colors had been used for wedding dress and why? This research paper aims to answer those historical questions through literature review. It is found here that the “white” began to be generally accepted for a wedding dress color in the 18th century, and that the color became an official one since the marriage of Queen Victoria's (i.e. 1840). Prior to that, other colors were taken rather than the “white”. In ancient Greece and Roma, “Red” and “Yellow” were used to remove devils or to bring fortune. In medieval society, luxurious wedding dresses were popular and various colors were adopted in order to show up family power among leading classes. The “White” has meant purity of bride since the 18th century. However, two world wars in the 20th century happened to lead some brides in economic difficulty wear “black” colored wedding dress for a practical reason. After the world wars, some light colors such as white, beige, ivory are to be used in wedding dress.

• 한국수학교육학회지시리즈E:수학교육논문집
• /
• 제36권1호
• /
• pp.171-199
• /
• 2022

본 연구에서는 2015 초등 수학 교과서 및 지도서에서 보완이 필요한 수학사 기술내용을 파악하고 이에 대한 보완방안을 제안하고자 한다. 이를 위해 2015 초등 수학 교과서 및 지도서 24종에 대한 문헌연구를 진행하였다. 연구의 결과는 다음과 같다. 2015 초등 수학 교과서 및 지도서에서 보완이 필요한 주제는 총 10가지 주제로 '고대 이집트인의 산술', '고대 이집트 수학 교과서 A'h-mosè 파피루스', '메소포타미아 고아카디안 사각띠', '메소포타미아 고바빌로니아인과 각도', '고대 이집트인과 고바빌로니아인의 원주율', '고대 이집트인과 고바빌로니아인의 $\sqrt{2}$', '이슬람인과 소수', '황금비의 뿌리에 대한 두 가지 주장', 'Archimedes와 실진법', '평면 디자인'이었으며, 이에 대한 구체적인 보완방안을 제안하였다. 이를 통해 기축시대 역사관점을 극복하고 고대 이집트, 고바빌로니아, 고대 그리스와 헬레니즘, 중앙아시아(이슬람 1000년), 유럽으로의 수학문화 전이를 인정하고 수용하게 되기를 기대한다.

• 철학연구
• /
• 제113호
• /
• pp.61-92
• /
• 2016

현대에 들어와 문화에 대한 관심이 높아지고 있지만, 문화와 인간성의관계에 대한 논의는 제대로 이루어지지 않고 있다. 문화는 인간성의 형성과 밀접한 관련이 있다는 것이 서구의 전통적인 생각이었으나, 현대의 문화상대주의적인 경향으로 인해 현대의 철학은 개개 문화가 지니는 인간성 형성 및 도덕적의미에 대해 크게 관심을 쏟지 않는다. 반면, 후설은 문화의 보편성을 주장하면서 문화보편주의적 관점에서 이른바 이상적인 도덕적 문화공동체를 추구한다. 이의 역사적, 철학적 근거가 되는 것이 고대 그리스에서 등장한 철학적 문화이다. 이 철학적 문화는 참된 인간성의 이념을 추구하면서 온 인류를 포괄하는 보편적인 도덕공동체의 정립을 지향하며 나름의 역사적인 타당성을 지닌다. 고대그리스의 철학적 문화는 인류가 나아가야 할 건전한 문화공동체의 이념을 보여주면서 문화가 도덕적 인간성의 실현에 어떤 영향을 끼치는 지 잘 보여준다는것이 후설의 생각이다. 그러나 이러한 후설의 철학적 문화에 기반한, 낙관적인도덕적 문화공동체의 이념은 하나의 이상일 뿐 현실성이 없다는 반론에 부딪힌다. 대표적으로 니버는 아무리 개인이 도덕적이라고 하더라도 공동체는 결코 도덕적일 수 없다는 주장을 편다. 니버의 주장은 일면 타당성이 있지만, 문화가지니는 도덕적, 연대적인 성격을 간과하고 있다는 점에서 한계를 보인다. 후설의 철학적 문화공동체의 이상은 따라서 이것이 문화공동체의 성격을 지니는 한여전히 현대에서도 현실적 타당성을 지닌다.

• 미술이론과 현장
• /
• 제4호
• /
• pp.203-239
• /
• 2006

As it is known, during the Second World War Greece has fought on the side of the allies and the end of the war found the country on the winners' side. However, the struggle for authority right after 1945 was merciless and extremely difficult, as well as dangerous for the course of the country to the future. The political powers were divided between the legal authorities that were represented by the king and formed the exiled government on the one hand and the part of the resistance teams and the rebels of the left that had a soviet friendly direction on the other. Thus, the start of a civil war was just a matter of time. It fin ally started in 1947 and lasted for more than two years. The consequences were disastrous for the country's economy and decisive for the future course of Greece. The national army prevailed with the help of, mostly, the English. Royal parliamentary democracy was established with a clear political turn to the west, as a completion and adaptation of the Agreement of the Great Powers at Yalta. Art had a 'similar' route. Dipolar, contradictory: conservative choices on the one side, and a will for pioneering inspiration and perspective on the other side. The 'dominate' trend was first evident in sculpture and mainly in the public monuments. Their construction aimed mostly at the public propaganda and at the promotion of the sovereign ideology. On the one side we have the public sculptures composed of faces of contemporary heroes or leading figures of the civic war and the national resistance. On the other side we have monumental statues mainly that appeal to a 'public' outside of the country's borders and mostly of the north borders, where there are countries with a communistic regime, like Bulgaria, Serbia and Albania. Their subject is derived from the heroic events of the Balkan Wars (1912-1913) and ancient historical figures like Alexander the Great as the Greek army leader, his father, Philippos II and Aristotle, who was of a north-Greek origin. The political message is twofold: on the one side the 'inner enemy' the communists that were defeated and the promotion of the new liberal social system and on the other side the north neighbours, which not only represent the East Block, but they also conspire the history and the culture of the Greeks. This is the way how the 'Cold War' was resulted in a full and totalitarian expression in art.

• 복식
• /
• 제51권4호
• /
• pp.15-30
• /
• 2001

The purpose 7f this study is to investigate the change of the ideal beauty of human bodies and the related clothing form designs from the ancient Egypt to the Romantic Period in the aspect of optical illusions effects to achieve the ideal beauty so that we can accumulate the knowledges for the modern clothing form design and the related optical illusion effects. The scope of this study is limited to the female body forms and female dress forms. The analysis on the optical illusions in the dress forms of the various period relied on the literatures and some representative photographs and figures. The important results are as follows : 1. In the body Priority type designs of Egypt, Greece and Rome, the natural Beauty of human bodies was represented by H type silhouett, the smooth and transparent drapery materials were used with radiant line pleats resulting in slant optical illusions. 2. In the clothing priority type designs of Byzantine, Gothic, Renaissance, Baroque, Rococo and Romantic Period, manteau, cotehardie, hennin and poulain were used to emphasize long arms and legs, high waists, belly curves and large heads resulting in optical illusions of vertical emphasize. Also long train, farthingale and panier were used to emphasize body expansion resulting in the optical illusions of Titchener alld Lipps. Large and complex patterns showed the optical illusions of Aubert. 3. In the clothing priority/body concealment type of Byzantine period, thick materials with precious gems and voluminous silhouettes were used to emphasize body expansion resulting in optical illusions of materials.

• 한국의류산업학회지
• /
• 제20권1호
• /
• pp.10-21
• /
• 2018

Kushan dynasty was located in the middle of Silkroad, from the 1st century BC to the second century AD, where it negotiated with various races. Therefore, the culture of the Kushan has multi cultural elements. The purpose of this study is to understand the life of the ancient Silkroad by accessing this characteristic culture of the Kushan through costume analysis. And the results of this study will be used as a basic data for studying the relationship between Korean ancient costumes and Silkroad costume type. As a research method, literature survey and artifacts analysis were performed in parallel. The results of this study are as follows: The basic type of the Kushan costume was a typical nomadic ethnic type with a long tunic and trousers. Tunic was fastened with a belt and straps at the waist, and the lower part of the belt was wider like a skirt. The tunic was divided into two types: open front and closed front. Because Kushan was originally a nomadic people who lived in Central Asia, the nomadic elements of Central Asia remained unchanged in the early costumes of the Kushan, but over time the details of the costumes changed according to the surrounding political situation. When Kushan negotiated with Parthia, the parthian coat was worn by the influence of them. After occupying Greco Bactria, accepting the Greek culture of Bactria, Kushan's costume was supplemented by the external costume element of drapery, which changed the style of the nomadic costume into a elegant style.