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A Study on Plastic Characteristics in Style of Greek Statue's Clothing - Concentrating on Drapery and Pleats - (그리스 조상(彫像)에 나타난 복식(服飾)의 조형성(造形性) 연구(硏究) - 드레퍼리와 주름을 중심(中心)으로 -)

  • Chun, Hei-Jung
    • Journal of Fashion Business
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    • v.6 no.1
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    • pp.102-115
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    • 2002
  • The purposes of this study are to comprehend the internal meaning and the external form in style of Greek statue's clothing in the light of linked solution, and to compare the characterizations of style of Greek statue's clothing with those in Greek Art. For these purpose, the theoretical studies about Greek art are preceded as a framework of this research, and then plastic characteristics of Greek statue's clothing and Greek art are analyzed by the documentary studies, For sources, photographs of Greek statue in Archaeological Museum and Louvre museum are used. The result is as follows. It is demonstrated that the characters of internal meaning in style of Greek art and Greek statue's clothing. The internal meaning of style of Greek art and Greek statue's clothing are as follows 1) Beauty of vital is subject that possessed life and movement and embodied dynamics or inherent power. 2) Beauty of moderation is subject that achieves some of its most impressive and practise a similar economy and restraint. 3) Beauty of character is subject that reveals the character of its wearer and has its own charm and distinction The Greeks clarified beauty by looking for mathematical proportions. It is the interrelation of part with one another, and with the whole, together with the additional element of good colour, which constitutes beauty as perceived by the eyes. The beauty in style of Greek statue's clothing consists of a sense of geometrical pattern, oder, symmetry, proportion, and rhythm.

A Study on the Transitional Procedures and Design Characteristics in the Theater Architecture - with focus on Comparing the Greek with the Roman Theater- (극장의 발달과정과 디자인 특성에 관한 연구 -그리스와 로마극장의 비교를 중심으로-)

  • 김성기
    • Archives of design research
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    • v.16 no.4
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    • pp.345-354
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    • 2003
  • The Greek theater was the first one which was built artificially and the Roman theater was erected as creative form following the Greek theater The style of these ancient theaters has influenced modern theater. In terms of the purpose and function of the theater, the Greek was derived from religious purpose but the Roman was derived for amusement. We can observe several differences in comparing the Greek with the Roman theater. In the shape of the theater, the Greek theater was dignified and grand and had an open-air structure, but the Roman theater was splendid and ornamental and had a roof over the stage. In the character of the theater, the Greek theater was democratic but the Roman theater was partial. The Greek and Roman theaters have became one source of the modern theater as the Greek and Roman plays have became the source of the modern play, although there are several differences according to the social and dramatic characters.

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유클리드 기하학과 그리스의 미술

  • 계영희
    • Journal for History of Mathematics
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    • v.16 no.2
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    • pp.23-34
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    • 2003
  • In this paper, we consider relationship between the mathematics and the fine arts. The former is one of the advanced sciences, the latter is one of the arts. But there is correlation between the mathematics and the arts. Here, we concern with the ancient greek mathematics, Euclidean geometry and the ancient greek arts. The ancient greek arts is classified with Geometric Style, Archaic Style, Classical Style and Hellenistic Style. The Geometric Style, Classical Style and Hellenistic Style are very effected by Euclidean geometry. Because the greek artists as keep the geometric proportion as the Euclidean's 5th postulates. The artist's cannon in just golden ratio 1:(1+$\sqrt{5}$)/2.

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Reliability and Validity of the Greek Version of the Job Content Questionnaire in Greek Health Care Workers

  • Alexopoulos, Evangelos C.;Argyriou, Evangelia;Bourna, Virginia;Bakoyannis, Giorgos
    • Safety and Health at Work
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    • v.6 no.3
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    • pp.233-239
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    • 2015
  • Background: The Job Content Questionnaire (JCQ), which is based on the Demand-Control-Support model, is designed to measure the psychosocial characteristics of the respondent's work, and has been identified to predict health and psychological outcomes. The purpose of this study was to investigate the psychometric properties of this instrument and the subsequent adaptation of its scales to the population of Greek health workers. Methods: The Greek version of the JCQ was developed by using forward- and back-translation in accordance with the JCQ policy. The reliability and validity of the measure were investigated in a sample of health workers working in a hospital in Athens, Greece. The internal consistency of the scales was examined based on Cronbach ${\alpha}$ coefficients, and the validity was evaluated subjecting the items of the three main scales of the JCQ (decision latitude, psychological job demands, and social support) to exploratory and confirmatory factor analysis. Results: The reliability of the scales was found to be acceptable for all the scales, except for the skill discretion subscale. Confirmatory factor analysis confirmed a slightly modified version of the original construct including several items to more than one factor. Conclusion: Our findings suggest that the Greek JCQ is reliable and valid for investigating psychosocial job characteristics among Greek health workers.

THE GREEK CONCEPTION OF THE OTTOMAN ERA: ISLAMOPHOBIA AND MUSLIMS LABELED AS THE OTHER

  • OZSUER, ESRA
    • Acta Via Serica
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    • v.2 no.2
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    • pp.47-68
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    • 2017
  • To the Greeks, the Ottoman era was a "Dark Age" one that comprised a threat to their Greek Orthodox identity. The identities of Orthodox and Hellene were integral parts in the construction of their national history. In fact, the Morea Uprising, which began in 1821, was symbolized by a priest blessing the Greek flag in Aya Lavra Church. One of the most common national myths is religious oppression of the Christian population during the Ottoman Era, namely Turkokratia. They identified Ottomans as Asian barbarians who did not let Greeks practice their religion freely, and who furthermore forced them to change their religion. These kinds of beliefs, which might be taken as religious propaganda, are today still highlighted both in Greek textbooks and in publications supported by the church and books and newspapers published in their affiliated institutes. The underlying truth behind all these propagandist statements is Islamophobia. The existence of Islamophobia in the Balkans, where religious nationalism is intense, has caused nations to hold to these kinds of mythical beliefs. Most of the time the stories and narratives have been used for history building. The objective of this paper is to demonstrate the effect of the anti-Islam propaganda of the church in Greece on the state and the people using Greek sources. The references are Greek religious textbooks and books and newspapers published by church-supporting publishing houses.

Interpretation of Images and Symbols from Greek and Roman Mythology in Contemporary Fashion - Focused on Durand's Classification of the Imaginary - (현대패션에 나타난 그리스.로마 신화의 이미지와 상징 해석 - 뒤랑(G. Durand)의 '상상계 이미지들의 동위적 분류도'를 중심으로 -)

  • Rhew, Soo-Hyeon;Kim, Min-Ja
    • Journal of the Korean Society of Costume
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    • v.61 no.2
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    • pp.131-151
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    • 2011
  • The study alms to identify how the symbols and images of Greek Roman myths in contemporary fashion have been reflected in respects of meaning and forms, and to find out the organic course from meaning to forms by using Durand's classification. The results define the significance of Greek Roman myths in contemporary fashion, and systematically suggest a direction of imagination for more creative design. In the diurne regime, the symbolism of purity, heroism and fear appeared. In the nocturne regime, the symbolism of maternity and sensuality appeared. In the dramatic regime, the symbolism of androgyny appeared. The characteristics of designs contained in each symbolism are common. In this regard, it is possible to trace organic relationships in the creation of images through the verbal scheme. In addition, the verbal scheme creates archetypal images that lead to images and symbols in the socio-cultural context, so it is possible to analyze the relationships between archetypal images and the format of garments. The study examined how the archetypal images that appeared in the mythical images were expressed in garments through the verbal system.

Cultural Diversity of Kushan Empire Through Die Analysis of the Depicted Costumes of Artifacts of Tillya Tepe (틸랴 테페 유물의 복식분석을 통해본 쿠샨왕조 문화의 다양성)

  • Chang, Youngsoo
    • Journal of Fashion Business
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    • v.24 no.5
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    • pp.158-176
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    • 2020
  • The purpose of this study was to examine the cultural diversity in terms of costumes by analyzing the costumes depicted in the early Kushan Dynasty relics, Tillya Tepe. As a research method, literature research and artifact analysis were conducted in parallel. The type of costume worn by the king (or priest) was in the type of a jacket and skirt, which was thought to be of Persian influence. The Greek god of Dionysos was wearing a costume with Danryong (團領) and narrow sleeves, a nomadic type of Central Asia. It could be seen that costumes were transformed into indigenous elements of the region. The shape of the helmet worn by the warrior was a Greek-Macedonian helmet. However, details were transformed into indigenous elements of the Kushan dynasty. The clothing of a nobleman riding a carriage was an element of dress that was observed in Chinese po(袍), and was an unusual element not found in nomadic peoples. There were goddesses wearing Greek robes like Aphrodite in Tillya Tepe's relics. On the other hand, there were goddesses who did not wear Greek chitons like the Greek goddess Athena. Instead, they wore high-waisted robes worn by the Orient goddesses. In addition, after Kushan occupied India, there were Indian elements believed to be expressed by accepting Indian culture. These elements were combined with regional orient elements of the Kushan dynasty, Central Asian elements, and Kushan's own elements. Thus cultural diversity emerged in the costumes depicted in Tillya Tepe artifacts.

A Study on the Costume of Bactria, center of Silk Road - Focusing Analysis of Antiquities - (실크로드의 중심 박트리아의 복식 연구 - 유물 분석을 중심으로 -)

  • Chang, Youngsoo
    • Fashion & Textile Research Journal
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    • v.19 no.4
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    • pp.400-410
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    • 2017
  • Bactria was the intersection of transportation between Greece-Iran and Central Asia at the Silk Road. This kingdom was Greek in all of its ruling classes. Because the Greek culture of Bactria spread to India and the east, Bactria was a very important place in ancient civilizations. The purpose of this study is to understand the life and the various cultures of Bactria and the influence of Greek culture on the costumes of Bactria. The research method was approached through the analysis of the empirical data. Data on antiquities were analyzed in European exhibition catalogs and secondary data collected from Internet. The results of this study are as follows: First, the original costume of Bactria was identified in two styles in the reliefs of the Persian Achaemenid. One is the tunic jacket sarapis that goes down to the knee and wide trousers with half-length boots. The other is the Scythian style trousers that looks like a barrel in a Sarapis. Second, in the Bactrian coin depicting the bust of the Bactrians, the hair styles and headgear of the Bactrian kings were analyzed. The Bactrians wore braids with short curly hair and wore Macedonian hats and helmets on them. Third, the relics excavated from the ruins of Ai-Khanuom depicted the forms of the ruling classes of Bactria. The dress styles and hair styles of gods and priests were imitating the form of the Greek costume as it is.

Passageway to Stage and for Civic Unification: Reconsideration of the Function of Parodos in Ancient Greek Theatre (무대 진입로에서 시민 참여와 소통으로 -고대 그리스 파로도스 공간의 기능과 의미에 대한 재고-)

  • Park, Jumgman
    • Journal of Korean Theatre Studies Association
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    • no.48
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    • pp.485-507
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    • 2012
  • Parodos, the side entrances to orchestra (acting space), was one of the intrinsic elements for the ancient Greek theatre structure. It is worth noting that parodos was the sole structural component that remained the original form while all the other elements such as orchestra, skene, and theatron experienced drastic or gradual changes in form throughout the passage of time. On the reason for parodo's maintenance of the original form, this study suggests a possibility that parodos could be the most intrinsic among the elements for Greek theatre buildings. For evidence, this paper indicates the historical fact that the procession tradition was the key event in the national or civic festival known as City Dionysia, and that the single-direction passageway, as seen in the Panathenaic Way passing through the City Athens, could be the easiest and most efficient way to realize the cause for the procession tradition that is the citizens' participation and subsequent unification. This study suggests another possibility that the single-direction passageway in the procession could be the archetype of parodos. For evidence, this study finds that this type of passageway was ubiquitous around the City Athens especially in the Agora, the most popular place in the city and the gateway to the processional event for Dionysian Cult as well as the space for the earliest Greek theatricality and, therefore, was familiar to the citizens. From the discussion, this paper argues that the Greek theatre should be the miniature of the Agora in terms of form (single-direction passageway) and function (civic participation and unification), and that parodos was the theatrical version of the processional passageway in the Dionysian Cult. In conclusion, this paper argues that parodos played a double role. It satisfied the theatrical necessity by functioning as the passageway to dramatic action (entrance and exit of actor/chorus) and as the literal door for the entrance of the audience members. At the same time, it satisfied the social cause, that is civic participation and subsequent unification, by functioning as the processional passage to relay the theatre space to civic events for the national religious cult.

Foundation of Philosophy for Early Childhood Education: The Ancient Greek and Roman Early Childhood Education (유아교육의 철학적 기초: 고대 그리스와 로마의 유아교육)

  • Kye, Young-Hee
    • Journal for History of Mathematics
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    • v.24 no.1
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    • pp.45-61
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    • 2011
  • The starting point of education is the ancient Greek philosophy. In this paper, we research the Hellenism culture: two famous poleis such as Sparta and Athens. Moreover, we investigate prominent philosopher Plato and Aristotle. In particular, we notice early childhood and female education through Hellenism culture. Finally, we study culture, politics and educations of the ancient Roman in order to compare those of our society.