• Journal of International Area Studies (JIAS)
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• v.13 no.1
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• pp.345-368
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• 2009

Our research task have goal to describe a treaty rhetoric known as 『La Rhétorique ou L'Art de Parler』(1688) which corresponds to a very wide field of which the step is not yet dubious in our country. Thus to study the rhetoric of Lamy borrowed from the thought of Descartes, we left the concept d' origin of language in traditional rhetoric in connection with logic and grammar (in first part). Also the second part is devoted to the tropes and the figures that are modified and deteriorated by the language of passion called 'rhetoric of passion or psychological of figure', etc. And the third part interests in the body of the speech being the character of l' heart. Under the influence of the rhetoric of Lamy, French rhetoric at the 17th century is held for an essential text when one interests in the history of the ideas and rhetoric, marked in its specificity (passion). The project of Lamy registered in the concept of passion like 'manners of speaking'. To close this study, which does one have to retain? The first remark to note is that Lamy founds his rhetoric in opposition to traditional designs dating from the beginning of Aristote. Second remark is the idea that one finds based in famous the books of Dumarsais at the 18th century and Fontanier at the 19th century. Admittedly, Lamy is a true rhetorician, grammairien which interests in the question of passions in the speech forces to reconsider the idea spread since Mr. Foucault, and makes it possible to understand the passage of the Great century at the Century of Lumuères. Even if this opinion is not shared, it will be agreed that the work of Lamy on passions or the phenomena sensory and psychological in the center of the language deserves reflexion.

• Journal of the Korean Society of Clothing and Textiles
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• v.42 no.1
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• pp.74-87
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• 2018

This thesis investigated majo and maja costumes of depicted in Francisco de Goya's paintings from the middle of 18th to the early 19th century, and presented the costumes defined as the upward flow from the lower classes to the upper classes. The study methodology selected those describing the maja and majo among the figure paintings, portraits and genre paintings by Goya that identify unique characteristics with the qualitative analysis of the cases of the upward flow with that affect the costume of the upper classes. The influence of the majo and maja costumes were outstanding in the shape of the outfits while the French style gown of the upper class women were one-piece dresses in shape, those of the maja were two-piece dresses that consisted of the upper and gather skirts. The costume was perfected by use of the mantilla or head kerchief, instead of the headdresses prevalent at those times. The majo's costume affected the men's costume of the upper classes in the shape of the outfits. Short coat and tight breeches were preferred to the loose ones as well as instead of a long coat. Rather than the wigs or tri-corn hat, the head kerchief and sash belt applied, which could be evidence of the upward flow as well as shows proof of the influence of majo and maja costumes.

• Journal of the Korean Society of Costume
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• v.30
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• pp.239-259
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• 1996

This research is to observe background of origination and process of changing style for men's suits and also to observe the root of aes-thetics which has made the changing style be maintained for nearly 200 years. The aesthetic characteristics are 1)The revival of the Neo-Classicism beauty in the 18th century could be regarded as the root of incipient style of the modern men's suits design. And the cutters recreated ancient nude hero which was an object of envy at that time and also reproduced men's suits through modifying the existed suits to make the ancientnude conform with the sewing regulations in order to describe and convey the perfect image of gender,. 2) The cutter who pursued merit of the classicismic aesthetics in the late 18th cen-tury artistically upgraded English rough country coat to keep pace with Nordic coat style of netherland Russia Germany while in constrast with the coat style mode which was in fashion in France and Italy then And also they changed the English country coat to a noble natural clothing structure in relation to ancient sculpture to keep the English tradition. 3) Im the 18th century Neo-Classicism art emphasized transparent and monochromatic beauty and thus color was limitedly used. In the use of the limited color however ancient aesthetical simple purity was well described within the more realistic outline. In those days the cutter who admired the English neo-Classicism removed color-luster and preferred colorless finished dimly and transparently. And thus color of the men's suits become to be also dim colored in los brightness. This means that it did not express pure beauty but brought such effect of the Classicism beauty that the nude itself was figured out.

• The Journal of Korean Medical History
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• v.15 no.1
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• pp.63-146
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• 2002

Huh-Im(許任, 1570~1647) was an acupuncture doctor of Chosun(朝鮮) era through the late 16th century and early 17th century. Even though he was a person of low birth, he participated in the loyal medication through three loyal generations, Sunjo(宣祖), Kwanghaegun(光海君) and Injo(仁祖). He was recognized of his services and became an official, 'Dangsanggwan'(堂上官) and Kyunggi(京畿) district official several times. In the early Chosun era, acupuncture medicine was focused. During the late 16th century, Imjin(壬辰) war aroused more needs about acupuncture medicine, and acupuncture doctors showed remarkable work. Under these circumstances, Huh-Im(許任)'s fame spread throughout the country. Huh-Im(許任) wrote ChimGuKyungHumBang("鍼灸經驗方") in 1644 based on his lifetime clinical acupuncture & moxibustion experience. It was the first specialized book of acupuncture in Chosun era. This event took place 30 years after DongEuiBoGam - Acupuncture Chapter("東醫寶鑑-鍼灸篇") was published. But it was not influenced much by DongEuiBoGam - Acupuncture Chapter("東醫寶 鑑-鍼灸篇") in the form or contents. ChimGuKyungHumBang("鍼灸經驗方") and Huh-Jun(許浚)'s DongEuiBo- Gam - Acupuncture Chapter("東醫寶鑑-鍼灸篇") were the fruits of the middle Chosun, and they are complementary to each other in theory and practice. The chief distinctions of ChimGuKyungHumBang("鍼灸經驗方") are in it's compact and practical edition and a lot of his clinical acupuncture prescriptions mentioned in the book. Huh-Im(許任) not only accepted the existing books such as NaeKyung("內經"), DongInSuHyulChimGuDoKyung and Shin- Eung Kyung("神應經") with his point of view and clinical experience, but also showed creative operation of studies. Indicating incorrect acupuncture points(訛穴), acupuncture remedy based on the visceral pathogenesis(臟腑病機) and the channel pathogenesis, research on new acupuncture points, sorting out plenty of outer meridian acupuncture points(經外奇穴), creating supplementary and purging acupuncture method(鍼補瀉法) which is a change of hand treatment of KiHyoYangBang("奇效良方"), operating variety of acupuncture and moxibustion treatments, and application of acupuncture treatments on surgery field such as intumescences and emergency cases are the examples. Huh-Im(許任)'s ChimGuKyungHumBang("鍼灸經驗方") influenced on the folk remedy books(民間經驗方書) in the late Chosun era. Compact and practical characteristics of the book let acupuncture treatment be freindly to the people. It can be confirmed in JeungBoSanRimKyungJe-Emergency Chapter("增補山林經濟-救急篇") or the formation of SaAmChimBob(舍巖鍼法). ChimGuKyungHumBang("鍼灸經驗方") was introduced to Japan in 18th century and published twice. ChimGuJibSung("鍼灸集成"), known as an acupuncture medical book of late Qing dynasty(淸末, 1874), is confirmed to be an plagiarization of DongEuiBoGam-Acupuncture Chapter("東醫寶鑑-鍼灸篇") and ChimGuKyungHum- Bang("鍼灸經驗方") of 17th century Chosun. Confusions and errors arouse from mistaken editional trend of ChimGuJIbSung("鍼灸集成") which had not disclosed it's original author and the title of the book must be reformed. In this way, fruits of acupuncture of the middle Chosun era including Huh-Im(許任)'s ChimGuKyungHumBang("鍼灸經驗方") will take a right place in acupuncture medicine history.

• Journal of Korea Technical Association of The Pulp and Paper Industry
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• v.44 no.3
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• pp.22-33
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• 2012

This study was carried out to investigate the characteristics of the lining papers which had been separated from six pieces of paintings and calligraphic works of the 18th and the 20th century. A total 20 kinds of lining papers were examined on the physical properties, colors, fiber morphology, and color reactions. The grammage and thickness of lining papers which had been used hanging-scroll type works were higher than those of folder types. On the other hand, the grammage and thickness of the first layer lining papers which had been separated from silk ground works were lower than those of paper ground works. All kinds of lining papers were colored from yellow to yellowish red because of unbleaching and deterioration. Through the examination on fiber morphology and color reactions, lining papers were verified that all of those were made from paper mulberry bast fiber but the first layer of the Mukjukdo. The lining paper which of the first layer of the Mukjukdo was verified that it was made from mixture of paper mulberry, hemp, and spruce pulps.

• Journal of Korean Classical Literature and Education
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• no.15
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• pp.355-387
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• 2008

The purpose of the study was to decide Korean translation and the copying period of "Korean Translation of " and to look all around their characteristics in different versions carefully until now. The "Korean Translation" is a collection of Korean-translated romance and love stories excavated by a professor Kim,Il Geun, and there is not a little meaning in the context of novel history in the point of view of 'Korean translation of a court possession'. Arranging conclusion of the study generally, it is as follows. (1) Considering phonological phenomena, grammar and vocabulary in the study of Korean language, it is presumed that they would be translated into Korean and copied between the regime period of the King Sukjong and the regime period of the King Yungjo in the Joseon Dynasty. For, they were composed of a middle declaration of copied 'Myeoknambon "Korean Translation of Taepyeonggwanggi(태평광기)"' and 'NakseonJaebon(낙선재본)' between the middle of the 17th century and the middle of the 18th century and the regime period of the King Jeongjo in the Joseon Dynasty appointed as the background period of the novels should be excepted. Consequently, through the Korean Translation, we can confirm that the novel scope between the 17th century and the 18th century in Korean novel history was widened until 'The Royal Court' and 'Women'. (2) In the side of vocabulary, the "Korean Translation" also has not a little meaning in the side of a collection translated in the Royal Court. It doesn't have new vocabularies, but partial vocabularies as '(Traces:痕)' '(Clean eyes:明眸)', ' (Sail:帆)', '(Get up:起)', '글이플(Weak grass:弱草)', '쇼록(Owl:? 梟 or 鴉?)', '이 사라심(This life:此生)', and '노혀오매(Look for:訪)' are good data in the study of Korean language. (3) The "Korean Translation" is a valuable data about translation and copying of a court novel and we can discover intentionally changed parts and partially omitted sentences rather in the than in the . There are differences between a translation book and a copying book and we can catch sight of intention of translation and unsettledness of copying in the second work. Therefore, we can know that the "Korean Translation" has a double context which one work is translated and a work in different version is derived, compared to a simple copy. (4) The "Korean Translation" has a close relation with "Hangoldong(閒汨董)", but it doesn't regard the same copy as a foundation. The basic copy of translation of the "Korean Translation" is a different version of the same line as "Hangoldong" and "Jeochobon(저초본:정명기 소장본)" and is more similar line to "Hangoldong", but it is also not the same basic copy. (5) Considering that the "Korean Translation" doesn't has a distinct relation with the "Hangoldong", there is no correlation between the "Korean Translation" and and the "Hangoldong" and . In addition, we could not discover a writer's identity between the two.

• Korean Association for Visual Culture
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• v.17
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• pp.65-92
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• 2011

This thesis investigates the complex functions of the magic lantern in illusionism and enlightment which was the most popular visual media and the direct ancestor of cinema. Especially, the thesis focuses on the characteristics of magic lantern's images which had been varied with the scientific and technological development. During the early period of the magic lantern, from the late 18th century to the beginning of the 19th century, it frightened viewers by showing magic images with ghosts and spectres, 'phantasmagoria', and wondered with images of natural catastropes and interesting stories like fables and fairy tales, which fulfilled the entertainment function. Since the mid 19th century the magic lantern began to show not only pictures of the 'scientific themes' on the earth, nature and human, but also them of the ethnological on the far, exotic worlds like Africa, Amazon and Syberia etc. from the European perspective. These contents conducted the educative function and contributed to the process of Enlightment to the peoples in the pre-modern age. The two functions of the magic lantern such as entertainment and education had been neither historically followed, nor clearly divided, but the one was predominant according to the development of lantern techniques as well as the changes of the world view and the culture of the time. The entertainment function of the magic lantern based on the visual fantacy did exist in the late 19th century further, and also in the late industrial society, even in the age of highly developed science and technology, viewers want rather 're-enchantment' by illusionism than facts and truths on the reality. This is an essential characteristic of the moving image media, as it had already been presented in the images of the magic lantern.

• Journal of Conservation Science
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• v.27 no.3
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• pp.291-300
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• 2011

Archaeomagnetic dating method is used to assign a date to the archaeological remains in which burnt soil is found by measuring the changes in terrestrial magnetism with the thermal remanent magnetization retained in burnt soil. This method, in particular, is quite useful to determine an age of the archaeological remains in which no properties are found, which makes it difficult to assigning a date. Hemp kiln and lime kiln fall under remains of these features, and 21 and 5 archaeomagnetic data from both kilns respectively were obtained by measuring the- remanent magnetization in burnt soil samples that are extracted in hemp kilns and lime kilns in the country. The results of archaeomagnetic dating with these data show the age range of the hemp kilns is between the late 10th century A.D. and the middle of the 19th century, and that of the lime kilns is between the early 16th century A.D. and the middle of the 18th century. The factor that the number of data collected from the hemp kilns was comparatively more than those from the lime kilns might affect the result, however corresponding to the fact that hemp had been used for a long period of time, the period of hemp kiln are widely spread over the chronological table. And the archaeomagnetic dating of lime kiln, in view of archaeological periods, is not only in accord with the late Joseon period when the tombs with lime-soil mixture barrier in trend; this is also telling that its width of archaeological period is comparatively narrow.

• Sijohaknonchong
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• v.19 no.1
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• pp.235-260
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• 2003

Recently, I presented Gagok(歌曲) Collection Yeong-eon永言 to learned circles. Yeong-eon is very similar to Yukdang-version六堂本 CheongGuYeongeon靑丘永言. Compared with Cheong- Yuk, it is the same age or little bit early time of Cheong-Yuk in culture Icon. This paper paid attention to the considerable difference between Yeong-eon and Cheong-Yuk in the way of the distribution of Yisakdaeyap二數大 葉's Woo mode羽調 and Ke-myeon mode界面調. There was the way of gathering ‘real name’+‘namelessness’ in Yisakdaeyap, which is the feature of the 18th century Gagok Collection. I found this way just put on the 19th century Gagok Collection way which is the distribution of Yisakdaeyap's 'Woo mode and Ke-myeon mode' in CheongYuk. Then I proved in this paper that the way of gathering Yisakdaeyap in Cheong Yuk didn't correspond to an actual singing in the early 19th century when 'Woo mode and Ke-myeon mode' was fixed. In case of Yeong-eon, however, it was not written any writers' names at all, when it was researched retroactively, I knew it was distributed evenly both the works of 'real name' and 'namelessness' in Yisakdaeyaps 'Woo mode and Ke-myeon mode'. Consequently, I found Yeong-eon is the good Gagok Collection for an actual singing at that time. In addition, there was discord in the mode or key distribution among many Gagok Collections. I found this issue of the application had kept on make Gagok Collections edit during 2 centuries. Because the actual Gagok enjoyment in the specific time is connected the way of the mode application directly.

• The Journal of Art Theory & Practice
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• no.14
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• pp.33-51
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• 2012

Joseph Mallord William Turner (1775-1851) has been widely regarded as the most original and brilliant English landscape painter in the 19th century. Admitted to the Royal Academy Schools in 1789, Turner was a precocious artist and gained the full membership of the prestigious Royal Academy in 1802 at the age of 27. Already in the 1800s he was recognised as a pioneer in taking a new and revolutionary approach to the art of landscape painting. Among his early works made in this period, The Shipwreck, painted in 1805, epitomizes the sense of sublime Romanticism in terms of its dramatic subject-matter and the masterly display of technical innovations. Of course, the subject of shipwreck has a long standing history. Ever since human beings first began seafaring, they have been fascinated as much as haunted by shipwrecks. For maritime societies, such as England, shipwreck has been the source of endless nightmares, representing a constant threat not only to individual sailors but also to the nation as a whole. Unsurprisingly, therefore, shipwreck is one of the most popular motifs in art and literature, particularly during the 18th and 19th centuries. Yet accounts, images and metaphors of shipwreck have taken diverse forms and served different purposes, varying significantly across time and between authors. As such, Turner's painting registers a panoply of diverse but interconnected contemporary discourses. First of all, since shipwreck was an everyday occurrence in this period, it is more than likely that Turner's painting depicted the actual sinking in 1805 of the East India Company's ship 'The Earl of Abergavenny' off the coast of Weymouth. 263 souls were lost and the news of the wreck made headlines in major English newspapers at the time. Turner's painting may well have been his visual response to this tragedy, eyewitness accounts of which were given in great quantity in every contemporary newspaper. But the painting is not a documentary visual record of the incident as Turner was not present at the site and newspaper reports were not detailed enough for him to pictorially reconstruct the entire scene. Rather, Turner's painting is indebted to the iconographical tradition of depicting tempest and shipwreck, bearing a strong visual resemblance to some 17th-century Dutch marine paintings with which he was familiar through gallery visits and engravings. Lastly, Turner's Shipwreck is to be located in the contexts of burgeoning contemporary travel literature, especially shipwreck narratives. The late 18th and early 19th century saw a drastic increase in the publication of shipwreck narratives and Turner's painting was inspired by the re-publication in 1804 of William Falconer's enormously successful epic poem of the same title. Thus, in the final analysis, Turner's painting is a splendid signifier leading the beholder to the heart of Romantic abyss conjoing nightmarish everyday experience, high art, and popular literature.