• 영어영문학
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• 제58권1호
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• pp.117-142
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• 2012

The education of children is one of the most important parts in children's literature. Children's literature, whose implied readers are both children and parents, is a good means to teach how they should behave and interact. Therefore, literary conventions of children's literature tend to be conservative with happy endings or fairy tale elements. Most of the children's literature of the 18th century were read as a conduct book which teaches children good manners and proper behavior, and at the same time served as a guidebook which tells parents how to discipline children. It emphasized the need of discipline to ascertain the hierarchy and order of the family, and cherished the close relationship between parents and children. In the 19th century, the ideal of family becomes more internalized. In the early 20th century, the ideology of family still remained, even though the world wars and economic depressions caused the cracks and collapses of the family. In the later 20th century, the disintegration of the traditional family was accelerated. The ideal of family based on the close relationship between parents and children, has had problems from the start. The attachment and over-closeness became stressful and sometimes could be poisonous. Recent children's literature shows the process of disintegration of the traditional nuclear family, children suffering in the fractured family, children's mental trauma, and nostalgia for the lost family. However, modern children's literature manages to find the lost or ideal surrogate family, and often shows fairy-tale elements such as mystical and heroic child protagonists or helpers who might solve all the difficult problems at once, despite the collapse of the family in reality.

• 대한가정학회지
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• 제24권2호
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• pp.13-23
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• 1986

We investigate several theories on how the cravate came into being and eventually evoved into the modern day necktie. Among the different possibilities, the most plausible case is the introduction of the neckwear by croatioan soldiers into France near the beginning of the seventeenth century. During seventeenth and eighteenth centuries, the beautiful costumes and extravagant embroideries using the expensive laces, were common oractices among the high society of the royal court, and the cravate evolved into a favorite ornament. While it was emerging as a beautiful part of man's dress in France and the continent, Charles II brought the cravate to England where it became the central part of the dandy's dress. The cravate became not only a part of dress but a subject for a solemn ceremony. George brummell was the most famous English dandy associated with this ritual and he is also credited as the father of modern men's dress. In england, Brummell became famous for his clean cravate was used as the expressionis of political opinions. They were san cravate, muscadins and incroyables, for example. The classic style of male dress in the nineteenth century was due to Brummell and the severe unadorned silhouette he started has changed very little to became the present day male dress.

• 조형예술학연구
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• 제3권
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• pp.178-224
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• 2001

This thesis aims to suggest the notion of the sublime as one of the common elements of contemporary plastic arts, as a new key for the reading of our visual environment. The concept of sublimity has been one of important categories in traditional aesthetics since the eighteenth century; beyond the domain of this tradition, however, it is rigorously investigated in sociology, literary criticism, visual art theory and post-structuralist philosophy, especially the investigation of post-modern conditions by Jean-Fran cois Lyotard. Jean-Fran cois Lyotard defines sublimity as the elemental feature of the late twentieth century visual arts based on post-structuralism and suggests the feeling of the sublime as dominant sensibility in post-modern society. According to Lyotard, the sublime is a contradictory feeling of pleasure mixed with suffering as in the theory of experimental avant-gardes; the post-modern sublimity is the feeling of suffering or agony when we feel in confronting the new and the unknown. The investigation of the sublime based on Lyotard's perspectives, therefore, is meaningful in decoding contemporary visual arts. This investigation, therefore, mainly deals with the post-modern concept of the sublime and contemporary visual arts viewed in the sublime.

• 복식
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• 제44권
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• pp.117-129
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• 1999

Hudan Bangryung-Banbee was the name for a traditional dress which had a square neckline collar. Among Bangryung-Banbee, there was a particular style which, plus with the square neckline collar, had the half-length sleeve, bodice whose back length was shorter than the front. This kind of style shown a big difference from the typical pattern of traditional Korean costumes which had the V neck and had to fold the neckband of the clothes in Y-shape. This study focused on the analysis of the change of Hudan(後短) Bangryung-Banbee style. Bangryung-Banbee of the half sleeve/shortened back style had been usually excavated around the period of the Japanese invasion of Chosun dynasty(1592-1598). And up to now this kind of the costumes was never found before the fifteenth century or after the eighteenth century in Korea. Therefore it is thought that Bangryung-Banbee was worn widely in the middle of the Chosun dynasty. However, the shape of the collar and the length of sleeve and of dress were variously used, so it must be recognized that there existed much more diverse styles of Bangryung-Banbee than it was known today. But as the times passed away, the lined Bangryung-Banbee disappeared, and the collar of Bangryung-Banbee changed from square neckline to rounded Wonsam(圓衫) or Baeja(背子)-shape. And in the case of Bangryung-Banbee's front length, the original style disappeared, while a new style of longer back appeared.

• 건축역사연구
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• 제6권2호
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• pp.9-22
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• 1997

The results of analyzing opening types in the rear elevations of ninety-six buddhist temples which would be existence can be summarized as follows ; 1) Opening types in the rear elevations of buddhist temples in the Koryo Dynasty were various as the type of doors and windows, and the type of combining with walls. but the fact had something in common that whole door was the swinging pannel one, and the type of the whole window was the lattice and the mullioned casement one. 2) The type of the lattice windows were disappered and the only type of the mullioned casement windows were put in an apperance in the early period of Cho-sun Dynasty. 3) The type of doors + walls and the type of doors + windows in the rear elevations of buddhist temples of the seventeenth century were absolute. Especially the mullioned casement windows were used mainly in buddhist temple of the type of doors + windows. 4) The type of doors + windows in the rear elevations of buddhist temples of the eighteenth century did not be seen, but types of doors + walls and walls + walls which were much enclosed, were mainly put to use in those.

• 복식문화연구
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• 제6권3호
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• pp.217-227
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• 1998

Male underclothing during this period preserved in the shirt its former qualities though somewhat diminished. The habit of leaving much of the waist coat unbuttoned to display the fine quality of the shirt was more than evidence of social ranks : it appears to have had its attractions to the other sex. But in other respects man's underclothing was sinking into obscurity. This was due, in a great measure, to the closer fit of his suit, designed to exhibit the shape of his legs in breeches and stockings, leaving little opportunity for the display of garments beneath. With the latter part of the eighteenth century man's underclothing ceased to serve for sex attraction, a function on it has never regained, while continuing -in the shirt front and cuffs- to indicate class distinction, until, in modern times, that too has disappeared. The term 'smart' was coming into vogue to indicated the well-dressed man, and for at least a century after, the word implied tightfitting garments which, of necessity, reduced underclothing to a very subordinate function, so that only the shirt front survived for display purpose. Artificial calves was introduced by the Macaronis its purpose was to accenturate the captirating shapelines of the calf of the leg appearing below the tight breeches of the period.

• 한국관광식음료학회지:관광식음료경영연구
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• 제7권
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• pp.61-85
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• 1997

1. Background of the Study Old Testament time made some food and Sauces. Cosher food is God's Covernant. Ancient Greek cooking and Roman cooking had been Sauces. Much of what we know of Greek gastronomy is found in the writting of Archestrate, cooking is sigle and direct, Sauces are Cumin, Vinegar, Roman culinary comes from mareus, first century A.D. many of the ingredients used in apicius's recipes are seen againg in midival Eurpean cooking. ① Cumin Sauce for Oyster ② Sauce for grounds, puree, and cardoons. 2. Culinary in the Middle ages Liaquid Flavorings their Sauces tested Verjuice and Vinegar are most often called for when a Liquid is needed, Spices and Liaisons. 3. Cookery the eighteenth century The eighteen the century brought about greated Systemization of basics, coulis, Jus, and bouillons. 4. The twentieth century culinary Careme were Systematized and recorded by Auguste Escoffier in his Guide Culinare Standardized. 5. Grand Sauces are Considered one of the greatest test of a Chef's Skill, Whether they are classics, Such as Sauce, Supreme, demand the highest technical expertise. The Successful paring of Sauce with a good demonstrates an understanding of the food and an ability to judge. Sauce making allows the cook more freedom to work flavors, textures, Aromatics, Tasty, and color than any other area of cooking. A Sauce is never eaten alone, function, balance, the direct flavor, Sauces presents the basic Sauce-making techniques that have been used in the past and that are popular today, Sauces are organized around the primeifhes of classic world cooking 6. Grand Sauces are 1) Brown Sauces are 1) Brown Sauce ① Demiglace ②Espagnole ③ Fond de veau 2) Bechamel Sauce 3) Velote Sauce 4) Tomato Sauce and 5) Hollandaise Sauce ① Brown Sauce made with Stock, Roux, Tomato Paste and Mirepoix. ② Bechamel Sauce made with Roux and Milk. ③ Veloute Sauce made with Roux and White Stock. ④ Tomato Sauce made with Tomto, Vegetable and Stock. ⑤ Hollandaise Sauce made with Egg and Butter.

• 한국의류산업학회지
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• 제6권6호
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• pp.723-730
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• 2004

The purpose of this study is to speculate on the history and the meaning of so-called "princess fashion" based on the feminist's viewpoint. While many designers in Korean fashion world have fostered the trend of princess fashion, relatively little insight has been developed regarding its socio-cultural meanings. For this problem, the researcher traced the historical background and the development of the princess fashion in both the western and the Korean fashion world. As a case of the princess fashion study, Andre Kim(a renowned Korean designer)'s collection was selected and analyzed since he has often been a central figure for the princess fashion trends in Korea. Here the operational definition of the princess fashion is the lavish dresses designed based on the western court dress styles. As a result, the researcher found that the princess fashion was originated from the eighteenth century in France. In the nineteenth century, male designers took over the role to make extravagant dresses such as empire and crinoline dresses which became the prototypes for the princess fashion. In Korea, the western court dress style was introduced at the end of the nineteenth century and it became a uniform of prostitutes during the Korean War. By analyzing Andre Kim's collection, it is found that his romantic dresses imitated the nineteenth century court dresses. Therefore, from the feminist's viewpoint, his princess fashion is a mere reproduction of anachronistic styles reflecting inferior and passive images of women. The researcher draws a conclusion that today's fashion should transcend the princess fashion that signifies the female's submissive-masochistic roles operated by the male's sexual expectation.

• 한국실내디자인학회논문집
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• 제15권6호
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• pp.27-34
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• 2006

This paper present a study on the $\lceil$Parere su Architettura$\rfloor$ of Piranesi published in 1765. In the 18th century, there were fundamental cultural and social changes in Europe. This paper intends to discover the influences of these changes on the field of architectural theory, and it also intends to reveal its characteristics and meanings. The $\lceil$Parere su Architettura$\rfloor$ of Piranesi was composed as a dialogue between two architects, named Didascalo and Protopiro. In this paper, Didascalo represent the Master and Protopiro the Novice(according to the translation of Kaufmann). On the artistic theory of the Enlightenment, Didascalo proclaims as a dogma. Then he inveighs against the rigorists, using strong language quite up the attacks of the Novice. The modernistic Protopiro assails every kind of embellishment. The dialogue non only helps us to understand Piranesi, but also reflects the artistic situation in the 18th century. The summary of the result of this study is as follows: 1. The book of Piranesi represents a controversy of the romanticism against the architectural rationalism. 2. The negation of the originality of the Roman architecture has been considered as the negation of the Baroque architecture that was the artistic base af Piranesi. 3. Piranesi had ideological intention to defend the hegemony of the Italian culture through strengthening of the Etruria-Roman-Baroque cultural tradition.

• 한국인구학
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• 제12권2호
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• pp.56-68
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• 1989

The methodology in historical demography comprises the three core areas the family reconstitution method at the Institut National d' Ftudes Demographiques(I.N.E.D), the back projection at the Cambridge Group for the History of PopuJation and Social Struc-ture(HPSS). and the household-pattern analysis at the Cambridge Group and at the California Institute of Technology. The paper presents an outline of the family reconstitu-tion method and discusses the problems, both theoretical and methodological, arising from the problematic back projection vis-a-vis the usual inverse projection developed by Ronald D. Lee at Berkeley. Recent developments in the tield of the generalized inverse projection method designed 10 supplement the defects in the back projection and the inverse projection are presented. and for ease of explanation of the parish register data for the family reconstitution form (FRE). pre-modern Korean household register data are presented along with the parish register data of England and Wales that constitute the backbone of historical demography in pre-modern Europe. Possibilities of exploring the household pattern analysis method based on the Laslett-Hammel classification scheme for the mid-eighteenth-century Korean household register data are suggested.