• Journal for History of Mathematics
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• v.21 no.2
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• pp.1-18
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• 2008

As a sequel to the previous paper Gou Gu Shu in the 18th century Chosun, we study the development of Chosun mathematics by investigating that of Gou Gu Shu in the 19th century. We investigate Gou Gu Shu obtained by Hong Gil Ju, Nam Byung Gil, Lee Sang Hyuk and Cho Hee Soon among others and find some characters of the 19th century Gou Gu Shu in Chosun.

• Journal of Educational Research in Mathematics
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• v.24 no.3
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• pp.409-428
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• 2014

The purpose of this study is to examine the features of the curriculum of Chosun-Sanhak(朝鮮算學), the mathematics of Chosun Dynasty in the 17th to 18th century. The results of this study are as follows. First, the goal of education, teaching-learning method and assessment of Chosun-Sanhak in the 17th to 18th century had not changed since the 15th century. Second, the changes in the field of the organization of mathematical contents were observed. Chosun-Sanhak in that time was higher in the hierarchy than in the 15th to 16th century. The share of the equation and geometry had increased and various topics of mathematics had been studied as well. Third, in the field of the characteristics of mathematical contents, the influx of European mathematics and the uniqueness of Chosun-Sanhak had been observed. In conclusion, The 17th to 18th century was the time when Chosun-Sanhak had pursued the identity escaping from the effects of Chinese-Sanhak.

• Korean Journal of Heritage: History & Science
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• v.43 no.3
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• pp.208-241
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• 2010

This study was conducted to examine the chronology of Taesil Seokham(Taesil Stone Boxes) stored in Taesil of the Joseon Palace and classify the styles to discuss how these boxes have developed. By doing so, this study defined the archaeological styles of taesil seokhams in the chronological order. Although taesil seokhams are placed when taesil are first created, they do not have any texts engraved on them and it is difficult to gain information only from examining taesil seokham. However, Taejiseok(memorial stones buried in Taesil) and Agibi(gravestones buried in Taesil) were created along with taesil. These resources were examined and compared with literature records to find when each taesil seokhams was created. The critical elements to consider for the chronological arrangement were both the cover and container of the boxes and the transition of their style could be classified into four major stages. In detail, the Joseon Dynasty's taesil seokhams initially inherited the style of the Goryeo Dynasty to be formed into rectangular boxes. Through the transition of the mid and late 15th Century, the semi-circular cover with cylindrical container became the popular style in the late 15th Century. In the late 16th Century, the style of the previous period was further developed to add some decorative elements, such as projecting ornaments, but the ornaments were added for functional purposes rather than artistic purposes. However, the style went back to the semi-circular cover with cylindrical container in the early 17th Century. From the mid 17th Century, various styles appeared with ornaments only on the cover, cone-shaped cover with no ornament, or mortar-like container. However, a new style of cone-shaped cover with ornament emerged between the early and mid 18th Century and continued to stay until the mid 18th Century. In the mid 18th Century, the cover remained unchanged, but the container became a keyhole-shaped space with one side forming a "ㄷ" shape. However, in the late 18th Century, the most typical style of the semi-circular cover with cylindrical container reappeared to show that this is the most universal style. Last, in the mid 19th Century, the cover changed from semi-circular to rectangular with flat top. After this, the taesil seokhams began to disappear. In terms of style, it can be classified into four stages. In the early Joseon Dynasty, the taesil seokhams were underdeveloped and inherited the style of the Goryeo Dynasty (Stage I; 1401~mid-15C), but Joseon's unique style began to develop from the late 15th Century (Stage II; 1477~1641). After that, partial ornaments were added for adornment (Stage III; 1660~1754), but the typical style reappeared in the late 18th Century to finally degrade in the late Joseon Dynasty of the mid 19th Century (Stage IV; 1790~1874). This arrangement of style and chronology would greatly help archaeologists anticipate the time and owner of taesil seokhams even if only taesil seokhams are discovered without any records. * Tae(胎) : Placenta and umbilical cord * Taesil(胎室) : A facility(chamber) of burying Tae(胎) in rite when royal descendants are born.

• Journal of Navigation and Port Research
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• v.26 no.1
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• pp.55-65
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• 2002

The eighteenth century in Great Britain was the period of transformation, Great Britain externally experienced several wars intermittently mid internally transformed into the industrial country in the course of the 18th century. British shipowners were faced with short of seamen mainly due to several wars and expansion of shipping tonnage British shipowners tried to solve the mooing problem by decreasing the number of seamen from 22-23 sailors per ship of 100 tonnage in 1710's to 5 in 1810 and increasing seamen's wage from shillings per common seaman per month in the 17th century to 25 shillings in the middle of the 18th century and equation omitted during the French Revolutionary and Napoleonic Wars. What caused and resulted by specialized shipowners to cope with changeable market situation with flexibility was decrease of the number of seamen per ship and increase of wage.

• Journal of the Korean School Mathematics Society
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• v.23 no.1
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• pp.25-44
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• 2020

This study investigated the representation and algorithms of western mathematics reflected on the algebra domains of Chosun-Sanhak in the 18th century. I also analyzed the co-occurrences and replacement phenomenon between western algorithms and traditional algorithms. For this purpose, I analyzed nine Chosun mathematics books in the 18th century, including Gusuryak and Gosasibijip. The results of this study are as follows. First, I identified the process of changing to a calculation by writing of western mathematics, from traditional four arithmetical operations using Sandae and the formalized explanation for the proportional concept and proportional expression. Second, I observed the gradual formalization of mathematical representation of the solution for a simultaneous linear equation. Lastly, I identified the change of the solution for square root from traditional Gaebangsul and Jeungseunggaebangbeop to a calculation by the writing of western mathematics.

• Journal for History of Mathematics
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• v.20 no.1
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• pp.17-32
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• 2007

In this paper, I review the origins, activities, and influences on the future mathematical development of the Analytical Society of Cambridge. The story of the late 18th century Scotland mathematicians and the early 19th century Cambridge mathematician such as Woodhouse, and the Analytical Society's history show that the Analytical Society wasn't a completely new and reformative meeting. This article reveals that the new analytical studies developed characteristically in Britain's specific intellectual and social context of the late 18th century and the early 19th century.

• The Mathematical Education
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• v.61 no.1
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• pp.47-62
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• 2022

This study investigated the contents related to the plane figures in the geometry domains of Joseon-Sanhak in the late 18th century and focused on changes in explanations and calculation methods related to plane figures, the rigor of mathematical logic in the problem-solving process, and the newly emerged mathematical topics. For this purpose, We analyzed , and written in the late 18th century and and written in the previous period. The results of this study are as follows. First, an explanation that pays attention to the figures as an object of inquiry, not as a measurement object, and a case of additional presentation or replacing the existing solution method was found. Second, descriptions of the validity of calculations in some problems, explanations through diagrams with figure diagrams, clear perceptions of approximations and explanations of more precise approximation were representative examples of pursuing the rigor of mathematical logic. Lastly, the new geometric domain theme in the late 18th century was Palsun corresponding to today's trigonometric functions and example of extending the relationship between the components of the triangle to a general triangle. Joseon-Sanhak cases in the late 18th century are the meaningful materials which explain the gradual acceptance of the theoretical and argumentative style of Western mathematics

• Journal of the Korean Society of Costume
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• v.60 no.8
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• pp.86-99
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• 2010

This study considered the characteristics and use of the jokduri during the 18th century, which was shown in Ijae-nan-go written by Yoon-Seok Hwang. In Ijae-nan-go, not only the origin of the jokduri, but also its colors, materials, sizes, and construction methods are recorded, in detail. The Jokdori is assumed to have been influenced by costumes of China. The 18th century jokduri is mainly made up of black satin, and is composed of eight pieces of cloth. This looks similar to a contemporary jokduri, but the 18th century jokduri is bigger. At court during the 18th century, women decorated their hair styles higher by using the jokduri. Not only did the jokduri fix the topknot at the top of a woman's hair by wrapping the topknot, but also it raised the height of the topknot. This is different from the generally known method of wearing jokduri. Therefore, this demonstrates that there have been changes in the role and use of the jokduri over time.

• The Journal of the Korea Contents Association
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• v.21 no.4
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• pp.658-667
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• 2021

Our study aimed to analyze and reinterpret, by an acoustic approach, the descriptions of the 18th century prosody and introduce the figurative pronunciation system, which is the International Phonetic Alphabet pioneer. Our methodology compares and analyzes grammars and documents on the transcription system and restructures the prosodic structure. It is certain that the 18th century grammarians widely accepted the prosody theories made by Arnauld & Lancelot of the seventeenth century. In particular, grammar scholars accepted the dichotomous classification of the accent structures as prosodic and oratorical accents. The prosodic accent has a relation to intonation, and the oratorical accent has as its key elements intonation and intensity. Regarding the temporal structure, the lengthening of the final syllable was observed systematically by grammarians of the 18th century. This time structure is similar to that of today. Therefore, we can conclude that the final elongation, an essential characteristic of the modern French accent, has already played an imbued role in 18th century prosody. Despite this, the 18th century grammarians did not assign it the status of accent, as it was a stereotype that matches accent with intonation.

• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.4
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• pp.127-137
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• 2019

Nail art, which has been popularized recently, has increased convenience in the direction of nail art design harmonized with clothing and the increased interest and usage of nail art decoration. This study set out to propose practical planar and three-dimensional nail art designs in harmony with modern clothes by applying trimmings common in 18th century women's clothing, which used a variety of attachable decorations. As for the methodology, the investigator examined theories in previous studies, literature, and analyzed the types of trimming in female portraits from the 18th century at the museum at the Palace of Versailles in France. Planar and three-dimensional nail art designs were created for each of the top three trimming types- braids, laces, and ribbons, which were identified through analysis. The study applied the trimmings of the 18th century women's clothes to nail art design and had the following results: First, the top three trimming types were identified based on the analysis of the 18th century portraits. They were then used as motifs in the production of planar and three-dimensional nail art designs. The results show that the motifs of the clothes trimmings were fit for and had practical possibilities for expression in nail art designs. Secondly, diversity and the expansion of ideas in the study of nail art design were promoted. In addition, elements were increased to have mutually complementary effects with clothes. Finally, the study made various attempts at nail design methods by adopting a range of nail art expression techniques including hand painting, 2D & 3D art techniques, and using planar and three-dimensional nail decorations, thus proposing a positive direction for the organization of a curriculum to make use of 18th century women's clothing motifs in nail art education.