• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.1
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• pp.35-49
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• 2010

The Imwon Sipyukji of this study was compiled by Seo Yugu (1764~1845), a famous agronomical scholar of the late eighteenth century. The contents of this book are divided into sixteen chapters related to all the important parts of rural home life ranging from daily routines to social life covering the agro-industry and the six skills of manners, music, archery, calligraphy, mathematics and horseback riding. Seomyongji, one of the sixteen chapters, covers all that is necessary for living a rural existence such as house-building, clothing adornments and transportation as well as how to make and use daily household items. The contents of the Boksik Jigu sub-section in the Sumyongji chapter consist of eight large units covering men's and women's clothing, bedding and pillows, sewing tools, belt and shoes accompanying the attire and storage for clothes. These eight are further subdivided into 65 items, each warranting a detailed explanation. My study will translate the original Chinese text of Boksik Jigu into Korean. This sub-section in the Seomyongji chapter will facilitate an investigation into the information contained therein on attire and accessories.

• English & American cultural studies
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• v.17 no.2
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• pp.89-109
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• 2017

This study focuses upon the fact that Wordsworth has a great interest in the epistemological understanding of nature. It denies that his early poems, such as An Evening Walk and Descriptive Sketches, only represent the subtleties of nature, according to the picturesque mode of the eighteenth century, without any other consideration about human mind. It tries to trace his effort to deal with the relationship between nature and mind, which is committed to the apprehension of Wordsworth's experience which shapes much of his later work. Prior to Wordsworth, or in his earlier days, both the picturesque description and the descriptive poetry tend to be two-dimensional. Staying away from the cold rules of painting and overcoming passivity, he prefers to contemplate nature through his emotions and tries to come close to the sublime sense. Therefore, his poetic strategy is to show that his poetic description of nature goes beyond the limits which these picturesque rules and colors impose. His readers get the feeling of how desperate he become trying to choose the suitable poetic language to express the relationship between nature and mind. He also has an interest in developing a character, Dorothy, to match what he thinks and to mediate what he intends to describe through his epistemological understanding of nature.

• The Korean Journal of Archival Studies
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• no.7
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• pp.75-105
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• 2003

Russian State Historical Archive (Rossiiskii gosudarstvennyi istoricheskii arkhiv - RGIA) received its present name in June 1992, and before 1961 was known as TsGIA. RGIA holds the major records of high-level and central state and administrative institutions and agencies of tsarist Russia from the eighteenth century to 1910s (except the records of the Army, Navy, and the Ministry of Foreign Affairs), as well as fonds of social organizations, institutions, and individuals of prerevolutionary Russia. The main goal of this article is to assist understanding russian principle on arrangement and classification archives with its historical development focusing on one of the biggest historical archive in Russia. The primary set of historical records in RGIA remain arranged in 3-steps classification system: fond (collection) -- opis' (inventory) -- delo (file). In this general survey of RGIA author offers detailed information on the collection of archives and the system for classification of its huge amounts of primary sources in connection with influence upon historical studies. Despite the general economic crisis Russian archives are struggling to keep their doors open for public research and are exerting their energies in present electronic information to scholars and other researchers from throughout the world. The result, however, is not rewarded enough, considering the effort involved.

• English & American cultural studies
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• v.10 no.2
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• pp.209-230
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• 2010

This paper reads Tristram Shandy around the issue of hobbyhorse, Sterne's main contribution to novelistic techniques as well as his insightful understanding of the modern condition. First, Sterne represents his characters according to the principle of hobbyhorse, declaring "I will draw my uncle Toby's character from his HOBBY-HORSE." Gradually distancing himself from the Juvenalian satiric mode as well as Henry Fielding's grand narrative and Samuel Richardson's psychological realism, as is seen in the early episode of Yorick's death, Sterne suggests that the best way to represent his characters lies in describing their hobbyhorses. Sterne's foregrounding of hobbyhorse is linked with his embrace of madness as part of the modern identity. He accepts that hobbyhorse-riding, a quirky and mad habit of mind or behavior, is indispensable for some people, like Uncle Toby, to survive and get along with their otherwise unbearable lives. Uncle Toby's hobbyhorse of waging mock battles in the bowling green saves him from the perplexing real world of language and sexuality, while the fictionality of his hobbyhorsical world is exposed by Widow Wadman. Since a hobbyhorse is by definition a world of private pleasure and eccentricity, sentimentalism comes along to bridge the two virtually incommensurable hobbyhorsical world in place of linguistic communication. Yet if Tristram Shandy fully stages sentimentalism, a cardinal part of hobbyhorse riding, it also offers an awareness of it, which is a significant development in the cult of sentimentalism in the eighteenth century. Tristram Shandy performs a version of sentimental journey where each character rides his hobbyhorse and the reader is invited to ride his/her own hobbyhorse.

• Journal of English Language & Literature
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• v.64 no.1
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• pp.117-133
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• 2018

This article examines Laurence Sterne's Sentimental Journey in the context of eighteenth-century British travel literature. While literary critics generally read Sterne's work as a sentimental novel, contemporary readers initially interpreted the text as a travel narrative. It is my argument that travel writing, particularly the motion entailed in travelling, plays a significant role in Sterne's critical examination of sympathy and its cultural function during this period. By narrating in great detail his narrator Yorick's mobility and the effects it has on his sentimental encounters, Sterne illustrates how sympathy is not only difficult to activate and therefore requires added stimulation in the form of motion, but also does not necessarily result in charitable actions, a moral failure that is dramatized by the literal distance Yorick maintains from the objects of his sympathy. Calling to mind the figurative distance that constitutes an integral part of Adam Smith's formulation of sympathy in The Theory of Moral Sentiments, the distance Yorick establishes through his travels indicates sympathy's failure to bridge the emotional and socioeconomic distance between individuals, thereby highlighting sympathy's limitations as a moral instrument. I argue that by using Yorick's repeated acts of sympathy to explore the problems of sentimentalism, Sterne both draws from and innovates the tradition of employing imaginary voyages to engage in philosophical inquiries.

• Journal of Physiology & Pathology in Korean Medicine
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• v.23 no.2
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• pp.269-277
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• 2009

"Kenjurok" is a set of medical records of Todo Yoshimasu, a Japanese docotr in the eighteenth century, who suggested that all diseases have originated from a poison, which is his own pathological term describing abnormal states of the body, The 54 records in "Kenjurok" were analyzed in statistical respects, including gender ratio, demographic distribution of patients, types of diseases, and herbal prescriptions used. Among 54 cases, male patients outnumbered female, as much as four times. The patients were quite evenly distributed according to ages. In 23 cases out of 54, abdomen palpation data were mentioned, Majority of the prescriptions used were originated from Sanghanron(傷寒論:Treaties on Febrile Diseases)/Geumgeyoryak(金匱要略: Synopsis of Golden Chamber). In frequency of use of prescriptions, however, showed somewhat different result, that is although Sanghan/Geumge prescriptions were used most often, esoteric prescriptions handed down in his family also composed significant part. The speculations derived from these statistical results are: Although Todo favored abdommen palpation to locate the poison and to decide a prescription, the proportion of abdomen palpation was not as high as expectation, He did use prescriptions not only in Sanghan/Geumge, but also other diverse prescriptions, rather often than not, which are regarded unique Japanese traditional prescriptions including poisonous minerals such as mercury and arsenic.

• Proceedings of the Korean Society of Soil and Groundwater Environment Conference
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• 1997.11a
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• pp.3-31
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• 1997

Water has always played a significant role in the lives of people. In urbanised Rome, with its million people. sophisticated supply systems developed and then fled with the empire. only to be rediscovered later But it was the industrial Revolution commencing in the eighteenth century that ushered in major paradigm shifts In use and altitudes towards water. Rapid and concentrated urbanisation brought problems of expanded demands for drinking supplies, waste management and disease. The strategy of using water from local streams, springs and village wells collapsed under the onslaughts of rising urban demands and pollution due to poor waste disposal practices. Expanding travel (railways. and steamships) aided the spread of disease. In England. public health crises peaks, related to water-borne typhoid and the three major cholera outbreaks occurred in the late eighteenth and early nineteenth century respectively. Technological, engineering and institutional responses were successful in solving the public health problem. it is generally accepted that the putting of water into pipe networks both for a clean drinking supply, as well as using it as a transport medium for removal of human and other wastes, played a significant role in towering death rates due to waterborne diseases such as cholera and typhoid towards the end of the nineteenth century. Today, similar principles apply. A recent World Bank report Indicates that there can be upto 76％ reduction in illness when major water and sanitation improvements occur in developing countries. Water management, technology and thinking in Australia were relatively stable in the twentieth century up to the mid to late 1970s. Groundwater sources were investigated and developed for towns and agriculture. Dams were built, and pipe networks extended both for supply and waste water management. The management paradigms in Australia were essentially extensions of European strategies with the minor adaptions due to climate and hydrogeology. During the 1970s and 1980s in Australia, it was realised increasingly that a knowledge of groundwater and hydrogeological processes were critical to pollution prevention, the development of sound waste management and the problems of salinity. Many millions of dollars have been both saved and generated as a consequence. This is especially in relation to domestic waste management and the disposal of aluminium refinery waste in New South Wales. Major institutional changes in public sector water management are occurring in Australia. Upheveals and change have now reached ail states in Australia with various approaches being followed. Market thinking, corporatisation, privatisation, internationalisation, downsizing and environmental pressures are all playing their role in this paradigm shift. One casualty of this turmoil is the progressive erosion of the public sector skillbase and this may become a serious issue should a public health crisis occur such as a water borne disease. Such crises have arisen over recent times. A complete rethink of the urban water cycle is going on right now in Australia both at the State and Federal level. We are on the threshold of significant change in how we use and manage water, both as a supply and a waste transporter in Urban environments especially. Substantial replacement of the pipe system will be needed in 25 to 30 years time and this will cost billions of dollars. The competition for water between imgation needs and environmental requirements in Australia and overseas will continue to be an issue in rural areas. This will be especially heightened by the rising demand for irrigation produced food as the world's population grows. Rapid urbanisation and industrialisation in the emerging S.E Asian countries are currently producing considerable demands for water management skills and Infrastructure development. This trend e expected to grow. There are also severe water shortages in the Middle East to such an extent that wars may be fought over water issues. Environmental public health crises and shortages will help drive the trends.

• Journal of the Korean Society of Costume
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• v.56 no.1 s.100
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• pp.13-31
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• 2006

This study will explore Rococo chinoiserie not only as a prominent style of the decorative arts in general, but also as an important factor that influenced $18^{th}$ century fashions in dress. Two premises support the conclusion of this study. One is that the chinoiserie is truly a hybrid, a totally new style resulting from the mixture of various traditional elements from the East and the West, with little regard for the authentic nature of the original styles. The other is that the geographical scope for defining the chinoiserie influence in the Rococo fashion can be expanded beyond its lexical meaning; the style eventually encompassed visual cues from various Eastern cultures including China, India and Turkey. Regardless of the specific origins, the oriental influences for Rococo fashion can be categorized into two types. The first type is a complete appropriation of structural elements of Eastern clothing, such as pagoda hats, pagoda sleeves, turbans decorated with plumes or fur-trimmed open robes and then combining them with Western dress. These exotic and fancy dress ensembles were worn as masquerades, theatrical costumes or portraits. One extraordinary example is the banyan, a man's dressing gown, which also had a place in everyday life, not just as special costume. Although the banyan became more tailored as time passed, the traditional shape of this Eastern garment was accepted unaltered in the beginning of the $18^{th}$ century. The second type of influence shows in the use of eastern textiles, especially silks, which were made into women's dress. It did not matter to the fashionable lady if her dress was made of the silk produced in China or a European copy of the Chinese original, as long as it satisfied her taste. It is difficult to detect the signs of exotic style from a glance in this type of chinoiserie dresses since it was more ambiguous and conservative adaptation of the oriental influence in Rococo dress styles than the first type. In this study, various oriental influences appearing in $18^{th}$ century Rococo fashions can be defined as part of the chinoiserie style based upon the suggested premises. No matter what the origin of these oriental fashions was, this hybrid of the East and West made one of great impacts on the most frivolous and splendid period of western fashion history.

• Journal of Conservation Science
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• v.32 no.1
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• pp.89-100
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• 2016

We estimated pigments and painting techniques with nondestructive analysis for Yu Eonho's portrait made in the eighteenth century, then compared with 11 portraits and painting characteristics at that time. The pigments used to Yu Eon-ho's portrait include lead white, yellow dye, cinnabar, minium, and pink dye, malachite, azurite, iron oxide red and brown dye, blue and pink dye for purple. In the result compared with painted pigments of 11 portraits, iron oxide red without cinnabar was used on the face part and organic green dye only was used instead of inorganic pigments on the other side of clothing after Yu Eonho's portraits portrait. This study is show the painting techniques on the portraits in the late $18^{th}$ century. We expect to use as useful referencing data for the study on the coloring technique of a portrait in the late Joseon Dynasty.

• Korean Journal of Heritage: History & Science
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• v.55 no.2
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• pp.146-165
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• 2022

The purpose of this study is to identify differences in the formative characteristics and system of Jobok by comparing the three relics Ui, Sang, and Daedae, which comprised Jeon-Sik's Jobok, with the data in the literature and five excavated Jobok relics, Sin Kyung-yu, Kwon-Woo, Hwasan-Gun, Milchang-Gun, and Lee Ik-jeong, from the 17th and 18th centuries. Jeon-Sik'sJobok was designated as a Gyeongbuk tangible cultural heritage, Sangju JeonSik Jobok and Crafts, in 2021. The three components of Jeon-Sik's Jobok are valuable as historical data since they are the oldest relics confirming colors. Regrettably, the edging fabric of the Ui made of red twill was mostly lost, with only traces remaining. Based on records, it was presumed that the edging fabric was black. It was confirmed that white decorative lines were yet to be used. In Jeon Sik's Sang, only the three front widths and one rear width remain, but the shape of the four rear widths can be inferred, and the creases were held only at the waist. Eighteenth-century Sang was connected at intervals at the end of the waist. Seventeenth-century Sang was connected with a slight overlapping of the rear Sang below the front Sang; therefore, it is assumed that Jeon Sik's Sang was also connected by overlapping the rear by more or less than 5cm below the front. After Hwasan-gun, the Sang was first made using black lines, then white lines were inserted, and, finally, it was pleated from the waist to the hem. The Daedae made the Yo and the Sin by folding the corners to form a 冂 shape with a single long band. The white Ju(紬) and the green yumunsa were used for the Daedae and the edges. This matches the color of the Daedae seen in the Jobok portraits of Milchang-gun, Lee Ik-jeong, and Jeong Hwi-ryang from the 18th century. In the 17th century, the Daedae made the Yo and the Sin by folding a long band like the Daedae of Jeon-Sik. After the 18th century, the Yo and the Sin were made separately and connected. To tie the Daedae to the waist, thin straps were attached at both ends. The relics of Jeon-Sik can be evaluated as reflecting the 17th-century Jobok system in terms of color and shape. Furthermore, it can be said that they are important historical data complementing the insufficient or inaccurate records of the Gukjoolyeui-seolye and Gyeongguk-daejeon.