• Korean Institute of Interior Design Journal
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• no.19
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• pp.11-19
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• 1999

This study is about the Characteristics of the Medievalism expressed in the German Architectural Expressionism. The concept of Medievalism is an attitude to revive the social and physical settings on Middle Ages. The social situation and architectural style in the Middle Ages were similar to the German Expressionism in the early 20th-century. The Medieval Characteristics of the German Architectural Expressionism were expressed in two ways -first, organic or sculptural style and second, fantastic or Crystal style. The architects such as Hermann Finsterlin, Henry van de Velde, Erich Mendelsohn, Rudolf Steiner, Hugo H ring, Hans Poelzig belonged to the first tendency, and such as Paul Scheerbart, Bruno Taut, Otto Bartning, Dominikus B hm belonged to the second tendency. The Medieval concept of the German architectural Expressionism was succeeded to Modern Architecture in 1950-1960s'. The architects in 1950-1960's such as Hans Scharoun, Gottfried B hm, Alvar Aalto, J rn Utzon intended to express organic and fantastic mass which was closely connected with the Medival concept of the German architectural Expressionism.

• Journal of the Korea Furniture Society
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• v.15 no.1
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• pp.53-61
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• 2004

German Baroque and Rococo styles in furniture design show three types because of political and geographical conditions - Northern style from Holland and England, Middle one from France, Southern one from Italy, The German's Baroque style, however, emphasized in practicality and metamorphosed form and material using the motive of plant trunk, flame pattern, and Akanthus leaf. Furniture of German Rococo surrounding space, and chairs two-dimensional curved lines than flower, ribbon, and lattice. style was designed form and color becomingly with were displayed decorations of more pictorial and structural forms, using the pattern of palm tree leaf, clam, flower, ribbon, and lattice.

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.1
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• pp.13-29
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• 2012

Art works reflect the spirit and aesthetic information of the times. More specially clothing shown in paintings indicates the phases of the times and contains the aesthetic values of the era. The purpose of this study is to examine the characteristics of German Romantic Era on male and female clothing style represented in Caspar David Friedrich's paintings. The study aims to highlight the following: First, German romanticism ironically gives conceptual importance but high value to freedom of inner self and imaginative sensitivity of human beings. Second, the paintings of Friedrich show the consistency with nature through human beings' inner self and transcendency ultimately expressing religious ideals paradoxically. Third, the characteristics of male and female clothing style shown in Friedrich's paintings are considered religious, contemplative, paradoxical, transcendental, conceptual, political, grass-roots oriented, and female liberating. Female clothing reflects simple empire-style, while male clothing shows romantic style of people's leaders, reflecting the political features in those days.

• MALSORI
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• no.19_20
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• pp.33-42
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• 1990

Those who are interested in the German diphthongs wil1 find that they are classified into three kinds of forms in accordance with their gliding directions: closing, centring and rising. The German [aI], for example, which derives its origin from [i:] of the riddle high German. Is regarded as a distinctive feature that distinguishes the new high German from the middle high German. The diphthong [aI] is cal led fall ing one, because the sonority of the sound undergoes a diminution as the articulation proceeds. The end part of the diphthong [aI] is less sonorous than the beginning part. In most of the German diphthongs the diminution of prominence is caused by the fact that the end part is inherently less sonorous than the beginning. This applies to the other c los Ing and centring diphthongs. This way of diminution of sonority exerts influence on methods of constructing systems of phonetic notation. The above mentioned less sonorous end part of diphthong [I] shows that it differs from some analogous sound in another context. It is useful to demonstrate the occurrence of particular allophones by introducing special symbols to denote them (here: at→ae). Forms of transcription embodying extra symbol s are cal led narrow. But since strict adherence to the principle 'one sound one symbol' would involve the introduction of a large number of symbols, this would render phonetic transcriptions cumbrous and difficult to read. A broad style of transcription provides 'one symbol for each phoneme' of the language that is transcribed. Phonemic transcriptions are simple and unambiguous to everyone who knows the principles governing the use of allophones in the language transcribed. Among those German ways of transcriptions of diphthongs ( a?, a?, ??: ae, ao, ?ø; ae, ao, ?ø) the phonemic (broad) transcription is general Iy to be recommended, for Instance, in teaching the pronunciation of a foreign language, since it combines accuracy with the greatest measure of simplicity (Some passages and terms from Daniel Jones) .

• The Journal of the Korea Contents Association
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• v.17 no.8
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• pp.312-324
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• 2017

This study examined how German newspapers and magazines report Korean mass culture, specifically what content on Hallyu (Korean wave) was present and what news frames were used. External characteristics, the content attributes, report trend, and news frames on Hallyu in the German media were analyzed. According to the results, German media from 2009 to 2014 reported the least about Korean wave with only a total of 78 articles. The greatest amount of articles occurred in 2012 when by PSY was a global success. The most common Korean wave articles focused on film and K-pop, but not drama. Hallyu news showed mostly a positive trend. Additionally, a thematic frame was used. Content revealed that a culturally interesting frame was most common. In order to improve the Korea image in Germany, it is proposed that 'the mediated Culture PR' be adapted to German media.

• Journal of Korean Society of Forest Science
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• v.100 no.3
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• pp.334-343
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• 2011

The purpose of the present research is to study the recreational use of German Nature Parks with comparing the Korean Recreational Forests. They were studied because both were not only founded for nature protection, but also for recreational use. The recreational offerings of German Nature Parks and Korean Recreational Forests found to reflect the expectations of their recreation users. Therefore the recreational uses of both countries will be recognized throughout this study. To review recreational offerings, services and infrastructure, a complete search of all German Nature Parks and Korean Recreational Forests was conducted. In summary, there were very good and varied activities that posed few demands on German Nature Parks. Some broad and very good offerings could be identified in the form of environmental education programs as well as many different kinds of services and infrastructure. Korean Recreational Forests were characterized by passive activities having few environmental education programs with only simple tour themes. The reason for this condition was that there were fewer holiday periods in Korea than in Germany and the conurbation life style in Korea, due to geological conditions, has led to less experience with nature.

• Journal of architectural history
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• v.1 no.2 s.2
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• pp.116-136
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• 1992

Architectural essence of John Ruskin's discourse can resolve itself into natural beauty, craftmanship, and truth in structure, surface, and process. His theories became disciplines of modern English school, Art and Craft and Free architecture, in aspects of organic architecture, morality, and rationality. These concepts disseminated continental Art Nouveau and also became it's basic principles. But his empirical theories hated use of machine, and should find a ideal model in medieval romanticism of Gothic. Anti-machine, as a instictive guideline of English modern architecture, couldn't cope with the industrialization of 20th century, and Gothic revival interfered with creating a new style. Muthesius' discourses were taught by the power of group movements and modern concept of form in English school, originally by Ruskin. But he accepted the potentiality of machine and mass production, and stressed creating the new German style suitable with machine. With the progress of Deutscher Werkbund, his theories were advanced to 'quality' connected with craftmanship, to discourse on mechanical 'form', and lastly to 'standardization and type' for mass production. Mechanical functionalism of Muthesius and DWB were sophiscated and handed down to Bauhaus, and then finally helped establishment of the Modern Architecture and Internationalism. Both English and German modern architecture owed their contribution as well as limitation to Ruskin and Muthesius as theorists. Through this comparative study, we can see the priority of theory to practice, the theoretical justification based on insight for its society and future, and the practical character of theory itself.

• Journal of the Korean housing association
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• v.27 no.3
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• pp.11-22
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• 2016

In Germany, during the modern architectural movements diverse experiments for the propagation of modern housing solutions were conducted that succeeded to the spirit of Bauhaus. Therefore, the study traced how Walter Gropius adopted the trends of architectural style and aesthetic, the concept of production, the concept for new typology of housing, and issues in urban architecture. According to the results, processes to the 'sachlich' style could be seen in the cases of early and latter works of detached houses and further aesthetic changes of later works. Second, Gropius expanded his design field from detached houses to multiple dwelling and it was accompanied by typological transformation of buildings considering the industrialization and production of housing. Third, in the cases of multiple dwelling, it could be identified that site planning of housing complexes and building arrangement reflected a shift from traditional urban pattern to new alternatives suitable for mass housing supply. Thus, changes in the genealogy and propensity of German residential designs were partly summed up and their implications on modern housing architecture were discussed.

• Korean Institute of Interior Design Journal
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• no.27
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• pp.104-110
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• 2001

This study examines the space composition and character of German Modern Theater barre on the theory of typology and interpreter in the european traditional classic theater. Contemporary multi purpose theater and public space is considered as a symbolic representation of the classic theater's organization. In the historical theory, modern theater was a common tool and best systeme in reflecting people's lives. This role of greece-roman theater as life cycle and new style of theater permanent design has get its value with the population increase and the urban centralization of the city and urban common sense. This study attempts to reevaluate the need of space typology in modern society through a critical review of theater and its use as a open space design. Content analysis was used to discuss the topics of this study including the historical background of the theater, the relationship between amphitheater and modern theater design, and the role of scenery, auditorium and its impact on urban environment. The scope of the study is limited to the comparison of classic theater and german modern theater space use program from the space critic and sociologist. Today the concept of theatrical space is altered with the typology of classic and interpreter space. This study provides insights for the future implications of theatrical space in developing public space for its a new definition as cultural representation.

• Cross-Cultural Studies
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• v.19
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• pp.205-232
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• 2010

The purpose of this paper is to examine the possibility of application of some French and German movies to teaching of multi-culture in elementary, middle and high schools. Three different films are selected. (2005), a French animation film directed by B?n?dicte Galup and Michel Ocelot, is appropriate for the education of understanding cultural relativity and improving multi-cultural sensitivity in elementary school. is a French short film directed by Walter Salles and Daniela Thomaso and included in omnibus style film (2006). This short film relating a story of an immigrated woman who leaves her baby in a cr?che and travels through Paris to work for a bourgeois mother can be used for developing a bond of sympathy between natives and immigrants. It is recommended for the class of junior high school. Finally (2007), a German film directed by Fatih Akin, provide a learning model for the education of multi-culture in high school classrooms. The cinematographic aesthetic of this film is focused on a process of reconciliation with others over the cultural, racial, national and generational differences. Analyzing the structure of the film and being guided by teachers the students can understand better in improving abilities to understand others.