• Journal of the Korean Society of Costume
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• v.58 no.3
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• pp.1-18
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• 2008

The tendency of exuberant multi-everything, enormous volumes and decoration has been showed in fashion since the 21st century. This tendency is very interesting in contrast to the tendency of restraint, simplicity and removing decoration which has been showed in the modern fashion throughout the 20th Century and especially minimalism fashion in the 1960s and the 1990s with the expectation of New Millenium. Maximalism is this kind of exuberant expression emerged since 2000. However, studies about maximalism in fashion have not been performed enough. Thus this study tried to analyze the aesthetic characteristics of maximalism in the modern fashion according to the previous studies of maximalism in design and architecture with social cultural background. The scope of this study was from 2000 to 2006, and this study was performed through literature survey with demonstrative analyzation of fashion collection photographs. The results are as follows; Maximalism has the meaning of 'maximum oriented-ism' and has aesthetic view of 'more/bigger is more beautiful.' The formativeness of maximalism in modern fashion was analyzed as fusion, enlargement, decoration, and fantasy. The internal meaning was analyzed as recovery of human being through pursuing of sensibility, fun and newness.

• Journal of the Korean Professional Engineers Association
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• v.18 no.2
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• pp.54-65
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• 1985

Korean Landscape Garden may be described according to its stage of development. In the primitive agricultural era, the garden was preceded by vegetable yards and at this time rock arranging (Soo-Sok garden) was initiated together with the megalithis culture of dolmens, heavenly altars and tumuli. In the early Three Kingdom period palace gardens were built on a grand scale and toward the end of fourth century temple garden were introduced along with Buddhism. These gardens evolved to the flourishment of "HWAGE"(terraced gardens) rock arrangements of ZEN, early KOR-YO period. Especially since the middle of KOR-Yo period the "IM-CHUN"(forest and pond) garden became popular, while during Cho-Son period "HWAGE" in the back yard, pond and pool garden and "IM-CHUN" style country villa became fashionable. The Korea traditional Landscape garde may be characterized that first it is a nature Landscape style, which makes the maximum accomodation with the surrounding nature. Secondly, the Korean garden is built creatively by utilizing the elements of its climate and topography, Kogu-Ryo, Paik-Je great-Kaya and Sil-Ra had developed original a castle town plans and beautiful gardens rock arrangements which precede the equivalent style of China and set the prototype for Japan. The Landscape art of waterfalls and rock arrangements at An-Ap-Chi garden of 7th century has no equals in China and set the origin of pond style of Japanese garden.

• Journal for History of Mathematics
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• v.30 no.1
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• pp.17-29
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• 2017

This paper is concerned with the $Ces{\grave{a}}ro$ summability of Fourier series. Many authors have studied on the summability of Fourier series up to now. Also, G. H. Hardy and J. E. Littlewood [5], Gaylord M. Merriman [18], L. S. Bosanquet [1], Fu Traing Wang [24] and others had studied the $Ces{\grave{a}}ro$ summability of Fourier series until the first half of the 20th century. In the section 2, we reintroduce Ernesto $Ces{\grave{a}}ro^{\prime}s$ life and the meaning of mathematical history for $Ces{\grave{a}}ro^{\prime}s$ work. In the section 3, we investigate the classical results of summability for Fourier series from 1897 to the mid-twentieth century. In conclusion, we restate the important classical results of several theorems of $Ces{\grave{a}}ro$ summability for Fourier series. Also, we present the research minor lineage of $Ces{\grave{a}}ro$ summability for Fourier series.

• Journal of The Korean Association For Science Education
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• v.24 no.1
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• pp.129-145
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• 2004

Since science was first taught in schools, maybe during the 18th century, school science education has experienced many substantial changes in its goals and nature over the period. The historical changes are usually referred to by some key terms, like, mechanics' institutes, object lessons, heuristics, general science, inquiry, STS, misconceptions. To characterize these changes, science educators frequently use some slogan-like analogies, referring to parts of the human body to indicate the movement of science education during a particular period of time: for example, 'Hands-On' for inquiry movement during 1960s-70s, 'Minds-On' for constructivist movement during 1980s-90s. In this paper, we briefly summarize the overall historical development of science education in Britain, then further expand the analogies to cover the overall process, that is, Ears-On ${\to}$ Eyes-On ${\to}$ Hands-On ${\to}$ Minds-On. To illustrate future directions of the 21st century, we propose a new analogy, 'Hearts-On', and also discuss the meanings and implications of a 'Hearts-On' analogy by illustrating how this new paradigm can be applied to reflect various current trends of science education, particularly in Korea. In addition, a parallel historical change between school science and science museums & centres is discussed.

• Journal of the Korean Society of Costume
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• v.50 no.3
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• pp.59-72
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• 2000

Dragon robe was defined as a robe on which the principal design consisted of dragon. Dragon patterns have been used on princess robes during T'and Dynasty. In Sung, Dragon-figured robes seem to have an Imperial prerogative. Yuan took over the use of robes with dragons patterns as a definite institition. Ming tried to reject all Yuan innovations, the dragon robe was retained as an unofficial court costume. The Emperor's semiformal robes which at first had four dragon medallions, later had twelve along with the 12 Symbols(십이장문). As Ch'ing dragon robes were only intended fro semiformal use. The Later Ch'ing robes date from after 1719, when the Ch'ien-lung(건륭) introduced 12 Symbols on Ch'ing robes. The Ch'ien-lung laws were disobeyed, notably the ones that specified the number of claws on the dragons. THe Emperor's dragon robe, lung-p'ao, (용포) was described as bright yellow in color, having four slits and horsefoof cuffs. The basic pattern consisted of nin dragons, in addition it had 12 Symbols. The elaborate textile techniques reached their peak in Ch'ing Dynasty-with its Weaving and Dyeing Office in Peking, and this factories at Hangchow(항주), Soochow(소주), and Naking(남경) -helps to explain why the decay of the Ch'ing bureaucracy hastended the decline of dragon robes. In the Ch'ing Dynasty tow terms were used for dragon robe, depending on the number of claws on the dragons. Those with five-clawed dragons were called lung-p'ao, while those with four-clawed dragons were called mang-p'ao(망포). The Court felt compelled to take corrective meausres. It decreeed that Ninisters of State and other officials, who had been bestowed five-clawed lung dragons, must take out one claw. Finally, the sale of ranks and the attendant privilege of wearing dragon robes gradually increased during the 18 th century, reaching its height in the 19 th century, Finally, after the Taiping Rebellion, when the Imperial Treasury was depleted by the wholesale destruction of revenue-producing lands, the Chinese government came to depend on such sales as an important source of revenue and the practice became even more widespread. The ensuing mass production of dragon robes, and the necessity of conforming to the fairly rigid basic pattern established in 1759, resulted in marked deterioration of workmanship, and a comparative monotony of decoration. The patterns on the dragon robes slight changes continued to be made in the ways of representign them. The li shui (입수) portion at the base of the robe become inreasingly wider throughout the 19th century. The background became cluttered with symbols of good fortune, scattered among the clouds and waves. As a result of all this extraneous decoration, the dragons were so crowded that they had to shrink back into the small size that they had originally occupied in the medallons. Kuang-hsu(광저) was a long one, allowing time for the manufacture of numerous robes. Also, it would seem likely that Occidental museums and collections would have a considerable number of his robes, in view of the widespread looting of his palaces during the Allied occupation of Peking in 1900, and the frequent sales of Late Ch'ing imperial textiles by destitute Manchu courtiers in the '20's.

• The Journal of Art Theory & Practice
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• no.8
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• pp.89-119
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• 2009

Kim, Jun-Geun(Gisan) was a late 19th century Chosen dynasty painter who created numerous genre paintings for West European clients in the newly opened treaty ports of Wonsan, Busan and Inchon. The treaty ports in the late 19th century Chosen represented of the crossroads the economy, values, and the institutions of the West European powers. In particular, the agriculture-based economy, Confucianism, and land-owner noble class started being eroded by a commerce-based economy, the values of Christianity, West European institution, and a new class of people who amassed wealth from commerce. As Kim, Jun-Geun's paintings were created for sale to West European clients, they exhibit characteristics that are distinct from the traditional genre paintings in terms of presentation style and the selection of the subject matters. The export genre painting originated in the 18th century around Guangdong, China. Broadly, there are two styles of genre paintings: the Guangzhou style and Ningbo style. Kim, Jun-Geun's paintings resemble the Ningbo style. The Ningbo style tends to highlight the main subjects, form an album of small paintings, and provide a simple treatment of the scenes without the background. Kim, Jun-Geun's paintings cover most aspects of life of common people of his time, ranging well beyond the subjects matters of the traditional genre paintings. His subject matters include the scenes of funeral, folk games, Buddhist and ancestor worship, prison and punishment, shaman custom, debauchees, government officials' formal trips, beggars and handicapped, etc. Many of the subjects are the neglected and the oppressed of the society. And he presents in detail the dress and its ornament that the subjects wear, and all the utensils and things around them. Besides, his subjects' faces are generally expressionless, and their postures are stiff; as such, the feeling of liveliness or movement is lacking. It may be the results of Kim, Jun-Geun's taking the other perspective, namely of his West European clients, rather than his own. The adoption of the other perspective may in turn be a product of the Social Darwinism and the new sense of values that accompanied the infusion of Christianity and West European institutions. Kim, Jun-Geun's portrayals of his subjects appear to reflect the attributes with which the West European Orientalists' of the period characterized the people of the Far East, namely, backwardness, barbarity, irrationality, violence, and mysticism.

• Journal for History of Mathematics
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• v.20 no.2
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• pp.1-18
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• 2007

In the middle of 19th century, Chosun mathematicians Nam Byung Gil(南秉吉) and Lee Sang Hyuk(李尙爀) studied mathematical structures developed in Song(宋) and Yuan(元) eras on top of their early studies on Jiu zhang suan shu(九章算術) and Shu li jing yun(數理精蘊). Their studies gave rise to a momentum for a prominent development of Chosun mathematics in the century. In this paper, we investigate Nam Byung Gil's JipGoYunDan(輯古演段) and MuIHae(無異解) and then study his theory of equations. Through a collaboration with Lee, Sang Hyuk, he consolidated the eastern and western structure of theory of equations.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.13 no.9
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• pp.4244-4252
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• 2012

This study aims to analyze the late 18th century Hanghae-Gamsa's(黃海監司; the provincial governor of Hanghae-Do) utilization of governing institutions in Haeju-Mok(海州牧) focused on his duties and ritual ceremonies. Haeyeong-Ilgi("海營日記") which is Hangha-Gamsa's official diary written by Mae-Su Seo(1731-1818) is closely investigated for that purpose. The arrival ceremonies were held at Geumcheon and the Gyogwui(交龜; the change-over ritual ceremonies) were held at Geumcheon and Baecheon. Especially the arrival ceremony held at Haeju-Mok is very spectacular compared with other cities. Through this study it was able to confirm the place of regular and irregular ritual ceremonies held and the aspects of governing institutions' utilization in Haeju-Mok.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.9 no.1
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• pp.143-153
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• 2008

Recently has there been a great increase of the interests in the excavation of governing institutions and their restoration. There also arise discussions on whether the municipal governments should appoint old governing institutions as the historical spots. In the course of the excavation and restoration of old governing institutions, their practical use becomes a matter of concern. So the reproduction of the past ritual ceremonies and events in the governing institutions attracts considerable attention. But the discovery and the analysis of historical materials are very insufficient to meet the recent increase of such demand. In that point of view, this study aims to analyze the ceremony of Kwanchalsa's(觀察使; a provincial governor) arrival at one's post and the use of governing institutions for it and to examine the Kwanchalsa's route of sulryeok(巡歷) and the ritual ceremonies held in the cities he visited. The Chungcheong-Gamsa(忠淸監司; the governor of Chungcheong-Do) in the 18th century is the subject of this analysis and three local officials' diaries - Chungcheong Gamyeong Ilgi ($\ulcorner$忠淸監營日記$\lrcorner$), Hoseo Gamyeong Ilgi ($\ulcorner$湖西監營日記$\lrcorner$), Geumyeong Ilgi($\ulcorner$錦營日記$\lrcorner$) - are closely investigated for that purpose.

• The Journal of the Convergence on Culture Technology
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• v.10 no.3
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• pp.173-180
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• 2024

We This study aimed to quantitatively analyze the theme of 'libertinage' and the associated issues of reason and emotion in 『Dangerous Liaisons』, a novel considered a masterpiece of libertine literature and an epistolary novel of the 18th century, using digital analysis tools. First, based on the frequency analysis of word usage using Voyant and LIWC 22, we confirmed that libertinage is manifested with keywords such as 'love' and 'time'. With Voyant's 'Contexts' feature, it was found that the letters sent by Valmont to Madame de Tourvel and those sent by Madame de Merteuil both have 'love' as the central theme. However, emotional vocabulary was higher in the former, whereas strategic vocabulary was more prevalent in the latter. Additionally, it was observed that the most frequently used word in the letters sent by Madame de Merteuil is 'time', with a higher frequency than 'love'. Thirdly, using LIWC 22, we measured the analytical thinking and emotional tone of the letters exchanged by the main characters, and analyzed how these values changed according to the chapters. Through these analyses, we confirmed that this novel, alongside Rousseau's "New Eloise," anticipates romanticism by embracing the theme of 'emotion,' which was rejected by 18th-century Enlightenment ideals.