• Architectural research
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• 제15권1호
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• pp.17-23
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• 2013

The purpose of this paper is to reconsider and revaluate Ste. Genevieve Library designed by Henri Labrouste as a criticism of Classicism. Considered as the epitome of the early structural Rationalism the modern historian tried to focus only on the iron structure of the library. Arguably, the structural concern was one of the ideas that the architect wanted to manifest in the library. As a rebel against a view of the Acad$\acute{e}$mie des Beaux-Art the notions of H. Labrouste were radical. He criticized an autistic Classicism with an echoing Claude Perrault's doubt about the myth of classical beauty. These radical ideas firstly showed in his report of the Grand Prix de Rome and must have been developed through several discussions for a novel: Notre-Dame de Paris by V. Hugo. 'Ceci tuera cela', one of the chapter of the novel, was generally known as the death of architecture due to the invention of the printing press around Renaissance period. We, however, consider that even though the historical background of the novel is the Gothic period the ideas, which was discussed with Labrouste, related to the death of architecture was not the architecture itself but classical architecture recomposed during Renaissance period. As the first design work the library must be reflected his ideas, which were developed, and manifested his criticism of the Classicism indirectly.

• 비교문화연구
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• 제38권
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• pp.385-404
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• 2015

Compiled in 776 by Zhang Shen, Wu Jing Wen Zi was regarded as the epitome of model book for standardized regular script in Tang Dynasty. Following early works like Shuo Wen Jie Zi, Zhang Shen adopted radical-rule for the compilation of this work. 3,250 characters were selected from the Five Classics and 160 radicals were established. Yu Jiaxi (1884-1955) harshly criticized the radical system of Wu Jing Wen Zi for being inconsistant and confusing. With careful review and analysis of examples from Wu Jing Wen Zi, this paper discusses the pupose of the compilation of this work, its unique radical-rule system, principles of arrangement of characters with the same or similar radicals, and the differentiation of variant characters. It further discusses the value of Wu Jing Wen Zi by its innovative radical-rule and effective differentiation of variant characters. It concludes with a rebuttal of Yu Jiaxi's argument and restate the necessity of reevaluation of this work even to this day.

• 수산해양교육연구
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• 제4권2호
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• pp.121-128
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• 1992

Taking the present circumstances into account that we are approaching the realization stage of interchange and cooperation between North and South Korea through a preparatory stage, recovery of national homogeneity is an essential precondition for reunification. The important first Step is pursuing of recovery of educational homogeneity for this purpose. The authors carried out 8 general observation on the fundamental educational system with ideology, on the actual state and characteristic of educational system for industrial technicians, and especially on the educational system for fisheries technical manpower in the North Korea. It was found that the North Korea's basic idea of educational policy is constituted by bringing up the communistic human beings on the ground of "the Ideas of Identity" and by bringing up industrial technical manpower for development of communistic economic. The basic educational system consists of 1-4-6-4 school years system, and 11 years of compulsory education up to the higher middle schools is imposed to all people. The educational system for industrial technicians is also composed of the regular school system which is following the basic educational system and of the irregular school system which is being attached to the industrial bodies. The fisheries educational system is very similar to the general educational system for industrial technicians, and the fisheries workers are treated more warmly in comparison with the workers engaging in the other industrial fields. By this study, the authors failed to find out the concrete content of the fisheries educational system including the curriculum owing to the lack of information, but this task should be studied continuously to make provision of reunification in the near future. Expressly, a continuous and profound research is required to be carried out on actual accepted state of the international maritime conventions together with the marine officers' certification system for the shipping and fisheries fields in the North Korea.

• 복식
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• 제58권3호
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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.

• 한국산학기술학회논문지
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• 제21권5호
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• pp.426-432
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• 2020

20세기 이후 미디어의 발달과 함께한 음악은 이전 시대에서는 상상하기 힘들었던 대중들의 삶과 음악이 서로 함께하는 시대로 변화를 맞이하게 된다. 이러한 문화적 흐름을 바탕으로 기존 문화에서 철저히 소외되었던 10대들의 음악이 주류로 진입한 사건인 록큰롤의 탄생과 그 배경에는 기타, 그 중에서도 솔리드 바디 일렉트릭 기타의 출현과 그 맥을 같이 한다고 볼 수 있다. 이렇게 일렉트릭 기타의 대명사로 일컬어지는 펜더 스트라토케스터는 록큰롤을 위시한 대중음악의 역사와 함께했다 해도 과언이 아닐 것이다. 현재까지도 많은 추종자와 세대를 아우르는 폭넓은 지지를 받는 막강한 영향력은 대중음악의 역사적 흐름과 일렉트릭 기타의 위상에 있어서도 현재까지 끊임없이 재생산되는 가교 역할을 했다. 또한 대중음악과 미디어의 비약적인 발전 속에서도 언제나 현재진행형으로 도구를 넘어 시대와 함께 하는 생명력에 진정한 의미와 가치를 들 수 있을 것이다. 본 논문에서는 이러한 펜더 스트라토케스터의 특징과 흔적들이 어떻게 나타나는지 살펴보도록 한다.

• 자연과학논문집
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• 제16권1호
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• pp.111-128
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• 2005

This study was conducted under the theory of hermitage ever built from buddhist belief. Directing to hermitages within temples of Korea Jogye Order, we focused on the layout correspondence relationship among them. and 161 hermitages were the first object of the investigation. For the accomplishment of the research purpose, the general epitome and spatial specification through various literature studies, on-the-spot survey and personal communications with a lot of priests were made. As one of the basic surveys, the foundation year were thoroughly investigated, followed by the form of building, main buddha and hermitage name. The results obtained were summarized as follows : Forty five hermitages which are equivalent to twenty eight percent of total hermitages within the parish-level temples of Korea Jogye Order, were built in shilla Dynasty and twenty hermitages that are 12.4 percent of the total were constructed in Koryo Dynasty and thirty seven percent of the total were founded during both of dynasties. This fact makes us to consider that many of hermitages in those days were constructed with the simultaneity of principal temple foundation which means hermitage had responded the spirit of the times. Every hermitage has its main Buddha and this thing happened that each hermitage enshrines its main Buddha according to the thought which was developed with the Buddhism expansion and sutra that is in accordance with their own intention. .Basically a capital temple has differed in its central sanctum in accordance with resourceful sutra, and, at the same time, twenty seven in avatamsk sectenshrine for Sakyamuni as their sanction and eight for the Merciful Goddess and 42.7 percent for Chajang's hermitages. The name of hermitage not only represents its symbol but comprises the characteristic meaning of ascetic practice. 31.7 percent of the hermitages studies was found to have the names of relating to 'ascetic practice' or 'thought' followed by the 'nature' or 'environment' to 21.7 percent.

• KSBB Journal
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• 제11권4호
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• pp.420-430
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• 1996

열처리된 Salmonella typhimurium 항원을 모델 분석물질로 선택하여 단지 시료만을 첨가함으로써 측정을 수행할 수 있는 1단계 immuno--chromatogra phy 분석시스템이 개발되었다. 개발된 시스템은 분 석물질 특정항체(감지항체)-gold 중합체가 건조된 상태로 축적된 glass fiber membrane(하단), 분석 물질의 다른 epltope를 인지하는 항체(포획항체)와 항 감지항체 특정항체들이 공간적으로 분리되어 고정화된 nitrocellulose membrane(중단) 그리고 흡수대로 선택된 cellulose membrane ( 상단)들로 구성된다. 이와 같은 구성성분들은 분석물질을 포함한 시료수용액이 모세관현상에 의해 연속적으로 이동되도록 부분척으로 포개어 배열되었다. 분석시스템의 성능을 조절하는 변수들은 포획항체의 농도 및 membrane 상의 고정화 위치, membrane 표면처리 와 시료운반용액에 샤용된 비반응성 단백질의 종류, 그리고 중합체의 농도로써 확인되었다. 최적조건하 에서, 시스템의 하부로부터 시료수용액을 흡수 후 15분 이내에 포획항체가 고정화된 membrane 상의 지역에 샌드위치 형상의 항원 항체 면역결합체가 형성되었고 이로부터 발생된 발색신호는 분석물질의 농도에 비례하는 것으로 나타났다. 분석물질의 측정 하한농도는 $1{\times}106$ Salmonella cells/mL인 것으로 나타났다.

• 천문학논총
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• 제39권1호
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• pp.1-12
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• 2024

In this study, we investigated the time signal devices of Deungnu (circa 1270) and Gungnu (1354), the water clocks produced during the Yuan Dynasty (1271-1368). These clocks influenced Heumgyeonggaknu (1438) of the Joseon Dynasty (1392-1910), exemplifying the automatic water clocks of the Yuan Dynasty. Deungnu, Gungnu, and Heumgyeonggaknu can be considered as automatic mechanical clocks capable of performances. The Jega-Yeoksang-Jip (Collection of Calendrical and Astronomical Theories of Various Chinese Masters) contains records of Deungnu extracted from the History of the Yuan Dynasty. We interpreted these records and analyzed reproduction models and technical data previously produced in China. The time signal device of Deungnu featured a four-story structure, with the top floor displaying the four divine constellations, the third floor showcasing models of these divinities, the second floor holding 12-h jacks and a 100-Mark ring, and the first floor with four musicians and a 100-Mark Time-Signal Puppet providing a variety of visual attractions. We developed a 3D model of Deungnu, proposing two possible mechanical devices to ensure that the Time-Signal Puppet simultaneously pointed to the 100-Mark graduations in the east, west, south, and north windows: one model reduced the rotation ratio of the 100-Mark ring to 1/4, whereas the other model maintained the rotation ratio using four separate 100-Mark rings. The power system of Deungnu was influenced by Suunuisangdae (the water-driven astronomical clock tower) of the Northern Song Dynasty (960-1127); this method was also applied to Heumgyeonggaknu in the Joseon Dynasty. In conclusion, these automatic water clocks of East Asia from the 13th to 15th centuries symbolized creativity and excellence, representing scientific devices that were the epitome of clock-making technology in their times.

• 디지털융복합연구
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• 제12권1호
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• pp.177-192
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• 2014

본 연구는 기업의 경영전략이 경영성과에 어떠한 영향을 미치고 있는지를 파악하고자 한다. 또한, 본 연구는 경영전략의 전형으로 간주되고 있는 Miles & Snow의 '적응전략'과 Michael E. Porter의 '본원적 경쟁전략'을 동시에 적용해서 기존의 기업을 대상으로 적용될 수 있는 경영전략 유형을 비교하여 재무성과와 비재무성과 평가를 목적으로 하고 있다. 이상의 연구의 결과를 요약하면 다음과 같다. 첫째, 경영전략은 경영성과에 영향을 미칠 것이라는 가설에 대하여 '적응전략'중 공격형전략과 방어형전략은 경영성과 재무성과와 비재무성과에 긍정적인 영향을 미치는 것으로 확인되었다. 둘째, 경영전략은 경영성과에 영향을 미칠 것이라는 가설에 대하여 '본원적 경쟁전략'중에 원가우위전략과 차별화전략은 경영성과 재무성과와 비재무성과에 긍정적인 영향을 미치는 것으로 확인되었다. 따라서, 경영전략이 경영성과에 유의한 정(+)의 영향을 미치며, 경영전략의 특성과 경영성과 간의 관계에서 정보기술 활용도의 조절효과가 있는 것을 알 수 있었다.

• 미술이론과 현장
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• 제16호
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• pp.107-137
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• 2013

This paper examines a number of Korean artists-Whanki Kim, Po Kim, Byungki Kim, Lim Choong-Sup, Min Byung-Ok and etc-working in New York in the 1960s and 1970s, focusing on their motivations to head for the U.S. and their life and activity in the newly-emerged city of international art. The thesis was conceived based upon the fact that New York has been one of the major venues for Korean artists in which to live, study, travel and stay after the Korean War. Moreover, the United States, since 1945, has had a tremendous influence upon Korea politically, socially, economically, and, above all, culturally. This study is divided into three major sections. The first one attends to the reasons that these artists moved out of Korea while including in this discussion, the long-standing yearning of the Korean intelligentsia to experience more modernized cultures, and American postwar cultural policies that stimulated them to envision life beyond their national parameters, in a country heavily entrenched in Cold War ideology. The second part examines these artists' pursuit of abstraction in New York where it was already losing its avant-garde status as opposed to the style's cutting edge cache in Korea. While their turn to abstraction was outdated from New York's critical perspective, it was seen to be de rigueur for Koreans that had developed through phases from Art Informel in the 1960s to Dansaekhwa (monochromatic paintings) in the 1970s. The third part focuses on the artists' struggle while caught between a dualistic framework such as Korea/U.S, East/West, center/margin, traditional/modern, and abstraction/figuration. Despite such dichotomic frames, they identified abstract art as the epitome of pure, absolute art, which revealed their beliefs inherited from western modernism during the colonial period before 1910-1945. In fact, their reality as immigrants in America put them in a diasporic space where they oscillated between the fixed, essentialist Korean identity and the floating, transforming identity as international artists in New York or Korean-American artists. Thus their abstract and semi-abstract art reflect the in-between identity from the diasporic space while demonstrating their yearning for a land of political freedom, intellectual fulfillment and the continuity of modern art's legacy imposed upon them over the course of Korea's tumultuous history in the twentieth century and making the artists as precursor of transnational, transcultural art of the global age in the twenty-first century.