• 영재교육연구
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• 제22권2호
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• pp.467-482
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• 2012

본 연구에서는 TRIZ의 40가지 원리를 현행 교육과정 내에서 재구성하여 학교 안에서 모든 초등학생들이 창의성 신장을 위한 교육을 받을 수 있도록 하였다. 개발된 4단계의 수업모형을 적용하기 위해 TRIZ 활용 예시 자료집을 만들고 저학년용 수업지도안 및 학습지 13차시와 고학년용 수업지도안 및 학습지 12차시를 개발하였다. Y초등학교 2학년 학생과 J초등학교 6학년 학생을 대상으로 본 프로그램을 적용하였으며, 창의성을 DESK이론에 따라 유창성, 융통성, 독창성, 정교성으로 세분화하여 분석한 결과 유창성, 융통성, 독창성, 정교성이 모두 향상된 것으로 나타났다. 즉 초등학생용으로 재구성된 TRIZ 프로그램은 초등학생의 창의성 신장에 효과적임을 알 수 있었다.

• 디지털융복합연구
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• 제7권3호
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• pp.49-60
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• 2009

The aim of this study was to develop a model for teaching-teaming by applying Ubiquitous at a learning experience field, in which connect characteristics of both ubiquitous application learning and experience teaming, making use of them. A literature survey of concepts was conducted, with the main areas to find out relationships between ubiquitous application learning and experience learning. Experience learning by applying ubiquitous learning methods maximizes its efficiency of experience learning in considering ubiquitous learning methods's characteristics of dynamic, interaction, sharing. Also it makes communications through positive participation and active interaction, and leads to a process of internal examination. The research data suggests that critical factors of experiencing learning applying ubiquitous are acquiring information and memory, information integration and exquisiteness, emotional and social activity, producing activity, help activity.

• 복식
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• 제53권6호
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• pp.63-74
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• 2003

The first objective of this study is to investigate and analyze the construction of TUTU and secondly, to propose a systematic research background on a sewing method of TUTU. The final objective is to provide the exquisiteness and the comfort for customer when wearing a stage costume. The research method to investigate the TUTU construction in detail is by renting or buying three major TUTU brands, which are selling in Korea. The results of this study can be summarized into four categories. Firstly, the Bustier composes into 8 to10 patches, and the external material or accessory differs by the work of art and its characteristics. Moreover, the cotton is used for the inner material. which depends on dancer's vital activities. Secondly, a skirt layer ranges from 6 to 12 layers with laces. In addition, the gather or the pleats is used to form a crease. Thirdly, lace or cotton is the material used for culottes because it is stretchy and lightweight. For the waist part. a rubber band is used since its wearability plus functionality. Lastly, an adjusting part for a stage costume varied for each dressers physical feature and can be corrected with inner hems together a hook, a thread loop or a zip. In conclusion, the results of this study can provide the quality improvement for TUTU and furthermore can propose a framework for an understanding and a practical use of TUTU construction.

• 복식
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• 제27권
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• pp.27-40
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• 1996

1.It was recorded at "Dong Gook Tong Gam" of King "Jang Soo" that "Sim-Eui" in Korea was first introduced from China at the reign of King, "Moon Ja"(491,A.D), Go Goo Ryo. 2."Sim-Eui" was worn as a mourning dress during the period of "Go Ryo" and as a concanical robe of Confucian, a ceremonial dress at home and for the rules of etiquettes during Cho Sun Dunasty. 3.Several theories about the construction and the using services of "Sim-Eui" are obseved and summerized. 4.Mr. Kyu-soo Park gives a definition to "Sim-Eui" as a Fortune of Heaven & Earth, the Constellation of the Cosmic Dual Forces, the Revolution of the Four Seasons, a dignified mien & the Way of a Man of Virtue and Virtue of the golden Mean. 5.I observed the concrete measurements of the each parts of "Sim-Eui" by the construction method of Kyu-Soo Park. 6.The Symbolic Meaning following the Idea of Mr. Chung, Hyun. describes well the line of thinking in our nation, and Idea of Loyalty & Filial Piety, a Man of Virtue and the Virtue of the Golden Mean. 7.As described above, I dare insist of the fact that the Construction Theory of "Sim-Eui" by Kyu-Soo Park during the letter period of Chosun Dynasty is full of our national manners and cus-toms with symbolizing meaning, construction's exquisiteness, clothes' materials and it's size most suitable to our people, to the exclusion of the defects in "Sim-Eui" of China and Japan.

• Structural Engineering and Mechanics
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• 제57권5호
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• pp.809-821
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• 2016

Concentric-tube continuum robots have formed an active field of research in robotics because of their manipulative exquisiteness essential to facilitate delicate surgical procedures. A set of concentric tubes with designed initial curvatures comprises a robot whose workspace can be controlled by relative translations and rotations of the tubes. Kinematic models have been widely used to predict the movement of the robot, but they are incapable of describing its time-dependent hysteretic behaviors accurately particularly when snapping occurs. To overcome this limitation, here we present a finite element modeling approach to investigating the dynamics of concentric-tube continuum robots. In our model, each tube is discretized using MITC shell elements and its transient responses are computed implicitly using the Bathe time integration method. Inter-tube contacts, the key actuation mechanism of this robot, are modeled using the constraint function method with contact damping to capture the hysteresis in robot trajectories. Performance of the proposed method is demonstrated by analyzing three specifications of two-tube robots including the one exhibiting snapping phenomena while the method can be applied to multiple-tube robots as well.

• 조형예술학연구
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• 제6권
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• pp.100-118
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• 2004

Mi Fu, who was associated with Wen Tong, invented the Mijoem Technique (Dotting Technique) in landscape painting with his son Mi Youren. His landscapes, which referred to Dong Yuan's landscape technique and was inspired by the scenery of Jiang Nan, illustrate the mood of a cloud-covered foggy landscape by liberally applying dots with ink. 'Chunsansoesong' which is considered done by Mi Fu, clearly shows the virtues of ink painting's spreading, absorbing and omission techniques. This simply rendered landscape - whose mountains and hills are wrapped in both clouds and fog - displays exquisiteness by using small dots. In 'Chunsansoesong', the characteristics of Song painting: a 'vital energy', a 'poem within the painting', a 'beauty of margin', a 'beauty of one brush stroke, and a 'display of inner meanings' are implicatively expressed This is because it's simple but connotatively delineative. There is the characteristic of a 'poem within the painting' when analyzing the both fragmented and combined 'Chunsansoesong'. The margins support an imaginative space as the height of the mountains get higher which result in deepening both the width and depth of the landscape space. Furthermore, the soft thickness of ink, clouds, pine trees, and pavilion evoke delineative feelings and a desire to write a poem Every thing in 'Chunsansoesong' is enveloped in both clouds and fog regardless of its distance and this delivers boundless feelings of Oriental mystery and urges a desire for 'writing a poem'. The pavilion that faces the cloud and fog-bound mountains especially flames the poetic urge further by inducing viewers' poetic imaginations. As we reviewed above, 'Chunsansoesong's cloud and fog-covered landscape is a good example that clearly showcases the characteristics of a 'Poem within the Painting'.

• International Journal of Costume and Fashion
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• 제4권
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• pp.63-80
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• 2004

Elegance in dress has been mentioned as an important term for explaining a beauty of dress and a fashion image through the times in the history of dress. Nevertheless, it has been spoken indeterminately without analyzing the accurate meaning. In addition, almost all the scattered discourses of it were very limited to womenswear. The purpose of this study is to provide a framework for a better understanding of the concept of elegance and its aesthetic characteristics expressed visually on dress from the holistic viewpoint, focusing on male elegance in dress. To obtain the purpose, the documentary study and the practical analysis were carried out. Elegance in dress is based upon the idea of aristocratic taste cultivated by good breeding. It is expressed visually through not only the carefully contrived dress but also a sort of aura of dressed body with skillful ease. Its aesthetic values consist of luxury, nobility, refinement, femininity, harmony. Though male elegant styles had already existed throughout the history of dress, it was Mannerism in the 16th century which expressed ‘studied elegance’ for the first time. On the grounds of both the classification of periodic styles and the periodic values, they can be defined and categorized into Mannerism Elegance, Salon Elegance, Modern Elegance Since Dandyism, Aestheticism Elegance. In the late 20th century they can be recognised as Classic Dandyism Elegance, Soft Casual Elegance, Elaborate Heroic Elegance. Although male elegance in dress has been visualized in different ways depending on periodic values, it has essentially been a refined beauty of high class which was valued until recent years. Its common plastic features appear as soft shapes, subtle colors and delicate fabrics modulated with exquisiteness and well-adorned appearance, graceful behavior make elegant styles completed. All of elegant styles have m common with refinement, harmony as main aesthetic values.