• Journal of Educational Research in Mathematics
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• v.10 no.2
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• pp.263-277
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• 2000

mathematics holds a key position among the subject-matters of school education. Nevertheless, beyond Its Instrumental one, humanity-educational value of mathematics for the general public has been under estimated. For the past fifty years, in the our country there has not been enough systematic and profound examination and discussion concerning the goals of mathematics education in order to establish the philosophy of mathematics education. Thus, in this thesis we argue how mathematics education could contribute to the humanity education. For this, we examine how western educational theorists have emphasized the value of mathematics as humanity education and how their theories have been reflected in the goals of the modern mathematics education. First of all, we discuss Platonism as a philosophical basis of the traditional mathematics teaching mainly with Euclid's "Elements" since the ancient Greece and the relationship between mathematics education and humanity education in the light of this traditional thought. Next, we examine the thoughts of Pestalozzi, Harbert, Froebel who provided the theoretical basis for the public education since 19th century, and discuss the value of mathematics teaching in their humanistic educational thoughts. Also we examine the humanistic value of mathematics education in Dewey's educational philosophy, which criticized the traditional western ethics and epistemology, and established instrumen talism. Further, we analyze how such a philosophy of mathematics teaching is reflected mathematics education of 20th century, and confirm that the formation of Dewey's rational intelligence is one of the central aims of mathematics education of late 20th century. Finally, we discuss the ideals of humanistic mathematics education ; develop ment of the rational intelligence via 'doing knowledge'and change of mind via 'looking knowledge'. In this paper identify the humanistic values of mathematics education through the historical examination of the philosophies of mathematics education, and we could find significance as a fundamental study for one of the most important problems which Korean mathematics educational society confronts, that is establishing the philosophy of mathematics education.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.2 s.161
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• pp.280-291
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• 2007

The purpose of this study is to research characteristics of costume which is expressed in Gustav Klimt's Paintings. In the end of 19th century and the beginning of 20century Vienna, considered to be the fashion Mecca after Paris, the creativity of such artists allowed the 'Anti-Fashion Movement' to set itself up against the frippery of the costume of the time. The Secession Movement received the effect of Art Nouveau and Symbolism and Klimt led of this movement as a forerunner in Vienna. Many women appealed in Klimt's Painting with unique costume which contrast to traditional fashion that period time. The characteristics of costume in his paintings are as follows. Firstly, Klimt drew in the women's costume which made by designers of Vienna Workshops, at one of motive of his work of art. Costume got a opportunity became a new art field, because there was no conceptual thinking of a fashion designer at that time. Secondly, the costume of Klimt' paintings had both anti-fashion design and elements of fashion, so he gained considerable support from leaders of high fashion who was the upper classes. Thirdly, both anti-fashion and fashion appeared in his painting at first period. Costume which made at the Vienne Workshop appealed portraits of Klimt paints at the second period. Klimt interested in Naturalism, Japonism, Orientalism and Greece style and expressed his characteristic techniques at the last period. Lastly, Klimt liberated the woman from a physical and spirit restriction through his various artistic presentations.

• Journal of the Korea Fashion and Costume Design Association
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• v.11 no.1
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• pp.53-62
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• 2009

Through the result of the investigation on costumes in Bulgarian regions, the main factors for the formation of Bulgarian folk costume and its kinds and history have been found out so far as follows. Alhtough varying according to the district and climate, Bulgarian folk costumes have some general features determined by the material, the pattern, the application. For women, Bulgarian costume consists of a white shirt, a single or double apron unique depending on each region(Bruchnick), a basic dress called a tunic (Soukman), and an open-tunic typed coat (saya). The main factors for the formation of Bulgarian folk costume have been under the influence of natural and environmental features and historical streams resulting from its geographical location. Bulgaria is agriculture-oriented society based on a continental climate. Accordingly, as for the classification of costumes, body-fit clothes, such as shirts and jackets which developed in Europe and fit the body shape, have featured in Bulgaria. Besides, Bulgaria was under the rule of Turk for a long time at the end of the Middle Age. Having been influenced a lot those days, its folk costume shows Turkish elements now. With geographical features, it was found that the southern area was influenced most by Turkey and Greece, and the types of folk costumes in Europe developed mainly from the northern area. The adaptation of traditional costume forms to the new cultural and progressive principles of appeal nowadays needs knowledge, as well as feeling. Finding the right measure and proportions of using old ethnic elemints in contemporary clothing is the prerequisite of successful design.

• Earthquakes and Structures
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• v.2 no.3
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• pp.207-232
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• 2011

The development of reliable earthquake mitigation plans and seismic risk management procedures can only be based on the establishment of comprehensive earthquake hazard and loss scenarios. Two cities, Grevena (Greece) and D$\ddot{u}$zce (Turkey), were used as case studies in order to apply a comprehensive methodology for the vulnerability and loss assessment of lifelines. The methodology has the following distinctive phases: detailed inventory, identification of the typology of each component and system, evaluation of the probabilistic seismic hazard, geotechnical zonation, ground response analysis and estimation of the spatial distribution of seismic motion for different seismic scenarios, vulnerability analysis of the exposed elements at risk. Estimating adequate earthquake scenarios for different mean return periods, and selecting appropriate vulnerability functions, expected damages of the water and waste water systems in D$\ddot{u}$zce and of the roadway network and waste water system of Grevena are estimated and discussed; comparisons with observed earthquake damages are also made in the case of D$\ddot{u}$zce, proving the reliability and the efficiency of the proposed methodology. The results of the present study constitute a sound basis for the development of efficient loss scenarios for lifelines and infrastructure facilities in seismic prone areas. The first part of this paper, concerning the estimation of the seismic ground motions, has been utilized in the companion paper by Kappos et al. (2010) in the same journal.

• Journal of Korea Entertainment Industry Association
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• v.15 no.4
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• pp.89-100
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• 2021

Comedy has been popular since ancient Greece. In order to visualize comedy more effectively, the actor's acting acts as an important factor. Then active discussion is needed on how actors can actually shape their comedic performance. I would like to approach comedic acting methods, focusing on the character of Kim Seo-young in the play . This researcher played the character of Kim Mi-young, and the characteristics of comedic acting include exaggeration, repetition, fast tempo, changing tone, and exaggerated physical behavior. Comedic acting comes from a dissonance of reactions. This is because unexpected reactions to stimuli can cause audience laughter. Comedic acting is also important in exaggeration and repetition, which must be based on true acting. The fast tempo of the act and the changing tone of the words also affect comedic acting expressions, and the embodiments of 'slapstick' and 'group dance', which are characteristics of farce acting, play an important role in causing audience laughter. In order for these characteristic elements to show comic effects, the actor's true acting must be the basis. What is important in comedic acting is understanding the narrative flow and features of the text and expressing it accurately. Comedic effects can be sufficiently represented if an actor truly expresses his means and faithfully demonstrates what the text requires. It is hoped that such research will help explore various acting arts, the acting education field, and the theater creation process.