• 한국농촌건축학회논문집
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• 제26권2호
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• pp.35-40
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• 2024

This study examines the classification and typical characteristics of 148 owner shop houses existing in the historical city center of Cheongju. First, they can be classified into single-story, middle-story, and divided types according to the distribution of residential and commercial functions. The single-story(36) has 'ㅡ', 'ㄱ', and 'narrow and deep'-shaped arrangement, with stores on the front and houses on the rear. The middle-story second floor(89) is divided into a first-story store and a second-story house, and the third floor(23) has different functions for each floor, but more than half of them have houses on the second and third floors. Among the total, there are also 16 cases in which the division type is taken with different construction times and structures. Second, in the position of the stairs connected to the upper floor among the middle-floor types(112), the outer stair type(52) to separate from the living space while making the most of the stores on the first floor accounts for 47%, but the biggest feature is that the inner staircase type(34) with privacy reaches 30%. The rear stair room type(26) entering through alleyways or private yards is also 23%. Third, the front pillar spacing varies from 1bay to 4bay in appearance, but the 2bay type on the 2nd floor and the 1bay type on the 3rd floor occupy the largest proportion. This exterior type is a characteristic of a owner shop house that can measure the range of personal ownership. Despite the conflicting functions of stores and houses, 35~40% of the cases are in which the opening positions of the upper and lower floors are unified.

• 한국가정과교육학회지
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• 제18권3호
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• pp.133-148
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• 2006

청소년들이 보다 만족할 수 있는 교복에 관한 자료를 얻고자 경기도 안양시 소재 중 고등학교 남녀 472명을 대상으로 의복행동, 교복만족도 그리고 교복변형행동을 설문 조사하였으며 SPSS/WIN (ver.11.0) program으로 통계 처리한 결과 다음과 같은 결론을 얻었다. 청소년들은 용돈의 대부분을 의복구입비로 사용하고 있으며 외모관심도, 동조성, 개성, 상표지향성에 대한 의복행동이 높았다. 청소년의 교복만족도는 낮으며. 특히 교복의 신분상징성, 유행성, 세탁관리성, 신체적 안락감, 경제성에 대한 만족도가 낮았다. 청소년의 약 74.8%가 개성과 유행추구를 이유로 교복변형을 찬성하였고 약 58.1%가 교복의 일부 혹은 여러부분을 변형하였으며 교복을 부위별로 줄여서 몸에 밀착된 형태로 변형시키는 경향이 나타났다. 외모관심도, 동조성, 정숙성, 상표지향성에 대한 의복행동이 높은 청소년일수록 교복의 신분상징성, 세탁관리성 둥에 대한 만족도가 높았다. 외모관심도, 유행, 상표지향성에 대한 의복행동이 높을수록 교복변형행동에 영향을 미쳤으나 교복만족도와 교복변형행동과는 유의한 상관관계가 없었다. 앞으로 교복 연구는 외모, 개성, 유행 등의 의복행동을 표현하려는 청소년들의 의복 욕구와 학생다운 이미지, 정숙성, 경제성을 추구하는 기성 세대 간의 요구를 절충할 수 있도록 지속적으로 수행되어야하며 그 결과는 청소년들의 교복 선택과 결정에 실질적으로 반영되며 학교와 교복제작업체는 이를 반영한 교복디자인과 제작을 시행해야 한다고 제언한다.

• 복식문화연구
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• 제3권2호
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• pp.241-260
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• 1995

The Maori's traditional clothing materials, basic forms of dress, and the pattern and technique of tatoo were examined in the present study in order to deepen the appreciation of the cultural heritage of the Maori. The research method employed was the analysis of written materials. And a fild-trip was also made for the study. The study was limitted to the traditional culture of body adornment of the Maori including the clothing which is preserved and practicing by them at the present day, and the origin and the process of the historical development of those are not included in the scope of the present study. Followings are the results of the study: (1) By far the most widely used fiber for Maori clothing is abtained from what is commonly called New Zealand Flax. The fiber of kiekie(Freycinetia baueriana) and cabbage trees(Cordyline spp.) may also be used. The strong, long-lasting fiber of toi(cordyline indivisa) is used for a prestige warrior's cloak. Flat strips of ti kauka(Cordyline australi) are also used as thatch on rain cloaks. (2) Regardless of technique used, Maori weaving is always worked horizontally from left to right. Traditionally the work was suspended between two upright turuturu or weaving sticks. As the work progressed a second pair of uprights was used to keep the work off the ground. These uprights were moved forward as required. Because the weaver sat on the ground, the working edge was kept at a height that was comfortable to reach. No weaving tools are used, the wefts(aho) being manipulated by the fingers. The two main Maori weaving techniques are whatu aho patahi(single-pair twining) and whatu aho rua(double-pair twining). (3) The Maori wore two basic garments - a waist met and a cloak. The cloth of commoners were of plain manufacture, while those of people of rank were superior, sometimes being decorated with feather or dyed tags and decorated borders. Children ran more-or-less naked until puberty, being dressed only for special events. Some working dress consisted of nothing more than belts with leaves thrust under them. Chiefs and commoners usually went barefoot, using rough sandals on journeys over rough country (4) The adornment of men and women of rank was an important matter of tribal concern as it was in chiefly persons that prestige of the group was centred, The durable items of Maori persons adornment were either worn or carried. Ornaments of various kinds were draped about the neck or suspended from pierced earlobes. Combs decorated the head. Personal decorations not only enhanced the appearance of men and women, but many had protective magical function. The most evident personal ornament was the hei-tiki made of jade or other material. Maori weapons were treasured by their owners. They served on bottle and were also personal regalia. A man of rank was not fully dressed without a weapon in hand. Also weapons were essential to effective oratory. (5) No man or woman of rank went without some tattoo adornment except in extremely rare instances when a person was too sacred to have any blood shed. The untattooed were marked as beeing commoners of no social standing. This indelible mark of rank was begun, with appropriate rite and ritual, at puberty. And tattoo marked the person as being of a marriageable age. Maori tattoo was unlike most traditional tattoo in that its main line were 'engraved' on the face with deep cuts made by miniature bone chisels. The fill-in areas were not tattooed with cuts but with the multiple pricks of small bone 'combs' that only lightly penetrated the skin surface. The instrument of tattoo consisted of small pots of pumice or wood into which was placed a wetted black pigment made from burnt kauri gum, burnt vegetable caterpillars or other sooty materials. A bird bone chisel or comb set at right angles on a short wooden handle was dipped into the gigment, that a rod or stick was used to tap head of this miniature adze, causing penetration of the skin surface. Black pigment lodged under the skin took on a bluish tinge. A full made facial tattoo consisted of major spirals with smaller spirals on each side of the nose and sweeping curved lines radiating out from between the brows over the forehead and from the nose to the chin. The major patterns were cut deep, while the secondary koru patterns were lightly pricked into the skin.

• 미술이론과 현장
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• 제16호
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• pp.225-256
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• 2013

As the great catastrophe in the modern and contemporary history of China, the Cultural Revolution(CR) is an object, which must have sutured the past of darkness. At the same time it is a continuous event and also a scar of memory. In other words, for history is "a dialog between the past and the reality"(E.H.Kar), CR intervenes in the reality and, on the contrary, the reality recomposes CR. From this point of view, CR is a historical event, which so far is not ended, and it is an object of memory, which is still being composed at the moment. As the saying: "Poetry is greater than history"(Aristoteles), artistic works more intensively reflect the past. The works related to CR can not be an exception. And CR is endlessly exposed in the contemporary Chinese fine arts and the works of the contemporary Chinese artists-Wang Guangyi, Yue Minjun, Zhang Xiaogang and others are proved to be those who suffer from the trauma of CR and who feel no liberty from CR. For example, CR probably is a symbol showing the "identity" of the Chinese artists. And the diversity of the symbol is the experience and pattern of the dialog between artistic works and CR (i.e., intervention in reality). For example, with withering of grand-narrative and appearance of micro-narrative, the CR critical works of Guan Zhoudao were the root of the Chinese fine arts in the late 70s and early 80s. In the contemporary cultural situation, the literary works about CR actively analyzed the history (CR) from the personal point of views and explained in the way of monolog and micro-method led the 1990s' works. In this way they tried to recompose the history "randomly", like looking at reality with their own eyes. In this process, CR is continuously exposing new features and the real facts are appearing before us as unfamiliar phenomena. This is a way of combination and "reappearance" of contemporary arts and reality. In conclusion, the purpose of this article is to make it possible to see a section of the contemporary Chinese fine arts through the study of the icon image of CR and to analyze the way of fine arts recomposing the history and the intervening in the reality. In this sense, the author has entitled the article "Icon and Form". It means how to reshape (the present) the typically formed icon of the CR (the past).

• 한국인터넷방송통신학회논문지
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• 제18권3호
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• pp.23-28
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• 2018

차세대 디스플레이는 기존의 TV를 대변하는 디스플레이 장치 환경에서 모바일 환경으로 진화 하고 있는 추세이다. 개인용 디스플레이에 해당하는 모바일 디스플레이의 경우, 홈시어터의 개념과 동일하지만 보다 경량 화된 사이즈에 다양한 목적으로 사용되고 있기에 디스플레이 산업에서는 디스플레이의 다양한 제품 응용 및 다양한 크기의 디스플레이 디바이스에서 보다 정확한 색채와 향상된 영상을 재현하기 위해 많은 관심을 가지고 있다. 이러한 문제점을 해결하기 위하여 본 연구에서는 배경의 밝기와 색채 자극의 크기에 따라 인지될 수 있는 색채의 차이가 있을 수 있다는 가정아래, 배경의 밝기를 차등적으로 적용하여 중심와 시각에 해당하는 색채 자극의 크기를 비교하는 정신 물리학적 실험을 진행하였다. 실험 결과 기존 선행 연구에서는 배경의 밝기가 고려되지 않은 상태에서 색채 자극의 크기가 증가함에 따라 더욱 밝고 더욱 선명하게 인지한다는 결과와 달리, 배경의 밝기와 색채 자극의 크기에 따라 색채를 인지하는 특성이 다르다는 연구 결과가 도출되었다. 실험 결과를 바탕으로 향후 대형 화면의 크기에서 모바일 크기의 화면으로 입력 영상이 전환 될 때 발생할 수 있는 색채 변환 오류를 해결 하여 보다 정확한 색채 표현과 향상된 화질 영상 재현이 가능하다.

• 한국보육지원학회지
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• 제9권6호
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• pp.243-265
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• 2013

본 연구는 개별적으로 환상그림책을 읽어주는 동안 그림책에 대한 반응의 주체자인 유아가 그림책의 등장인물에 대해 어떻게 반응하고 있는지를 유아들의 질문과 코멘트에 대한 분석을 통해 알아보고자 하는데 목적이 있다. 연구 대상은 만 5세 유아 54명이며, 연구 도구로는 환상그림책 9권이 사용되었다. 분석 내용은 환상그림책의 등장인물에 대한 유아들의 질문과 코멘트의 빈도 및 각각의 반응유형, 등장인물에 대한 선호 근거를 분석한 것이다. 분석 결과, 첫째, 환상그림책의 등장인물에 대해 유아들은 질문하기 보다는 코멘트 하는 빈도가 3배 이상 높은 것으로 나타났다. 둘째, 환상그림책의 등장인물에 대해 유아들은 '평가적 질문'을 가장 많이 하였고, 다음이 '상상적 질문'을 많이 한 것으로 나타났다. 이 두 가지 질문 유형에 비해 '몰입적 질문'과 '개인적 질문' 빈도는 매우 낮았다. 셋째, 환상그림책의 등장인물에 대해 유아들은 '평가적 코멘트'를 가장 많이 하였고, 다음이 '상상적 코멘트', '몰입적 코멘트', '개인적 코멘트' 순으로 나타났다. 넷째, 환상그림책의 등장인물 선호 근거로 '등장인물의 외형'을 제시한 경우가 가장 많았고, 다음이 '등장인물에 대한 주관적 느낌', '등장인물의 역할', '등장인물의 특성'의 순으로 나타났으며, '등장인물의 성'을 제시한 경우는 한 명 밖에 없었다. 이와 같은 연구 결과는 향후 유아교육현장 교사들의 그림책 읽어주기 전략의 계획 실행과 그림책에 대한 유아들의 반응 증진을 위한 전략 연구에 도움을 제공할 수 있을 것이다.

• 유통과학연구
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• 제13권9호
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• pp.71-79
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• 2015

Purpose - The purpose of this paper is to find out the effect of changes in the differentiated "servicescape" on the business performance in the hair salon industry using a case study. For this, we selected hair salon M located in Suwon. The shop is innovatively different from existing shops in terms of spatial layout and functionality. We conducted in-depth research, beginning with the launch of the shop concept through investment and ongoing stable sales. Research design, data, and methodology - The M hair salon is a start up shop providing a differentiated servicescape (physical environment where the service takes place) located in Suwon, Yeongtong-gu. We conducted research to investigate how spatial layout and functionality of the servicescape impact customers' perceived quality. The interview period and case analysis was May 2014 through March 2015, covering 11 months. To conduct the case analysis, we analyzed the spatial layout and functionality of existing shops and interviewed customers and experts about the difference between hair salon M and existing shops. Results - Our results found clues to the positive effect of spatial layout and functionality among servicescape factors on perceived service quality at the salon. The shop showed a fast payback of the principal investment, growth potential in contrast to competitors near the salon, and 45 percent returning customers. The problem with the spatial layout at existing shops was that customers were aware of the way other people were looking at them, since viewing angles overlapped, therefore there was a limitation to the relationship intensity with an exclusive hair designer. In contrast, the layout of the stands at the M salon kept the number of dressing stands limited to maximize the customer's emotional response. Additionally, because of the new layout of dressing stands hiding other customer voices and appearance in the salon, customers perceived their service space as independent. Therefore, they did not have to focus on their personal emotional response, which was one of the advantages of the new layout. Conclusions - This study conducted case study analysis by offering a new perspective focusing on spatial layout, previously not considered as an independent variable of quality evaluations and customer satisfaction in existing literature on hair salon management. Therefore, this study contributes to the field by offering an opportunity to discover the causal relationships between the overlooked physical environment and a customer's perceived quality. However, a process objectifying the results of the study through empirical analysis and hypotheses is needed to overcome the limitations of the case study approach and generalize the results. Moreover, it would be beneficial to conduct further empirical study of the relationship between the spatial layout provided in the case and a customer's emotional response and change in mood. In addition, an analysis is needed regarding how customers feel about the factors using the Kano Model. These suggestions would be considered in further study.

• 미술이론과 현장
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• 제1호
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• pp.71-92
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• 2003

This study examined the condition of an educational discourse, relating the concept of creativity, culture, culture-centered, and critical thinking, to explore Culture-based Art Education(CBAE). In particular, art education practice was examined using interpretations of creativity and critical theory positions from the field of education. Discourse analysis was used as the research method to contextually situate and analyze the ways in which art education theory and practice of creativity and of critical studies encoded meanings. The study helped build an understanding that creativity was formed as a modernist discourse in the humanistic stance. In education, creativity became the fundamental concern for progressive educators who pursued innate ability of individuals. The way to enhance creative potential of students was to induce their motive, as was the same case in art education, while in artist training, free expression was its main method. In this way, as creativity was intimately connected with the concept of expression, in art education art making is the only course for enhancing creativity. However, because creative process cannot intelligently be regarded as logically distinct from the creative product, and creativity can only be said by product, it seems valid to think that creativity is the quality not to be achieved by teaching. Furthermore, its emphasis on art making resulted in unbalance of art making and art appreciation in art education. It was the late sixties when several alternatives for creative education were made their appearance. Critical studies in art adopted critical theory as its theoretical background has developed as an alternative of creative art education, when research and theory for creativity could not be adequate to deal with the problem of practice. Critical theory is a broad and diverse field of theory and practice drawing on aspects of the modernist perspective of the later Frankfurt School, feminism, Freirean pedagogy, postcolonial discourse as well as postmodernism to construct a practical approach to education. It is very this eclectic nature to provide the mosaic that need to experience cultures from different perspectives in a pluralistic society. Because one's personality is formed by multiple aspects of culture which is very complex and is made up of what we do and value, creativity cannot make part of educational discourse with the philosophy of culture centered. On the other hand, critical studies, as a school art program of critical theory, can perform the role of CBAE, because it would have to deal with the investigation of social and cultural issues form multiple personal, local, national, and global perspectives.

• 영재교육연구
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• 제13권2호
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• pp.73-94
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• 2003

본 연구는 과학영재아동의 개인 및 일상생활에서의 적응수준, 성별에 따른 적응, 자기지각 및 사회적 지지의 차이를 파악하며, 스트레스와 적응과의 관계와 그들의 스트레스에 영향을 미치는 자기지각 및 사회적 지지 수준을 살펴보고자 하였으며, 연구결과로는 첫째, 과학영재아동의 개인적응, 사회적응, 자기지각과 교사지지는 일반아동의 이러한 능력보다 높은 것으로 나타났으며, 부적응, 부모지지, 친구지지는 과학영재아동이 일반아동보다 낮게 나타났다. 둘째, 과학영재아동의 자기기획, 편견, 사회적 역량, 행동품행역 량, 자아가치감, 부모지지, 교사지지, 학교친구지지는 성별에 따라 유의미한 차이가 있는 것으로 나타났다. 셋째, 과학영재아동의 성취동기, 자기기획, 애착 및 사회적 긍정성은 스트레스와 유의미한 부적상관이 있는 것으로 나타났다. 넷째, 과학영재아동의 사회적 역량, 운동역량, 신체외모역량, 행동품행역량, 자아가치감 및 사회적 지지와 스트레스는 유의미한 부적 상관이 있는 것으로 나타났다. 과학영재아동의 자아가치감에 영향을 미치는 변인은 교사지지($\beta$=.26), 친한친구지지($\beta$=.25), 부모지지($\beta$=.21), 학교친구지지($\beta$=.21)순이고 이들의 설명력은 41%이었다. 또한 과학영재아동의 스트레스에 영향을 미치는 변인은 부모지지($\beta$=-.32),친한친구지지($\beta$=-.28), 자아가치감($\beta$=-.28)순이고 이중 부모지지가 가장 예측력이 큰 변인이었으며, 이들의 설명력은 38%이었다.

• 지역사회간호학회지
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• 제10권2호
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• pp.525-536
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• 1999

The result of this study may be abstracted as follows. 1) The study was done on 48.3% seniors(138), 34.3% sophomores. and 17.5% juniors mostly ranging in age from 21 to 22, the largest number of students at 38.1%(109) were Christian. followed by 31.5%(90) were Confucian. 20.6%(59) who were Catholic. and 9.1%(26)who were Buddhist. 2) Concerning the economic views. 46.8%(134) preferred Capitalism 40.9%(117) preferred a combination of Capitalism and Socialism, 8.7%(25) were for more or less Socialistic in view point, and 3.5%(10) for Socialism. 3) Among the internal factors causing poverty, 'lack of ability(knowledge)', scored the highest at 3.528, and 'beauty or appearance' scored the lowest at 1.570. Social factors scored high in 'bad economic/tax policies' at 3.374 and 'low average in wages' at 3.364. Among family matters, 'not much money at home' scored the highest at 3.273, and 'low expectation of success in poor families' scored the lowest at 2.315. On concerns of fate and destiny. 'bad luck' turned out to be the most likely cause of poverty with the score of 2.619. and 'destined poverty' was the least likely cause with the score of 1.969. 4) The high scoring economical consequences of poverty was 'not able to do as one desires' at 3.965, and 'no money to buy things wanted' at 3.804. 'Gets tired of life' (4.028) scored high in psychological consequences showing that poverty affects these matters greatly. 'Looked down on by others' (3.538) scored high in social circumstances, and 'feels like a burden to society' scored low at 2.080. Among family matters. 'hard life' scored high at 4.210, and 'low morality' scored low at 1.972. 5) Significant differences(p= .00) were found between economic views and what significance certain internal factors caused poverty these differences were also related to a reliance on religion, economic views, and economic status. Significant differences were also found between economic status and internal factors causing poverty(p= .04), economic point of view and social factors(p= .01). and economical point of view and luck related matters, (p = .01) When the consequences of poverty were considered. psychological factors such as 'hate towards oneself', 'tired of life', and 'afraid of the future' showed significant differences in relation to economic status. (p = .02) Family matters also showed significant differences in relation to economic status(p= .03), With personal characteristics and wealth causing factors, significant differences were found between a person's economic point of view and ecinomic status when considering and internal or social factors.