• 산업진흥연구
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• 제5권4호
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• pp.91-100
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• 2020

미국은 19세기말~20세기초기간에 영국경제를 추월하면서 대기업체제가 출현하였다. 이러한 미국의 성장은 양질 이민의 지속적 유입과 교통수송기관의 혁신적 발전과 전국적 시장형성 및 체계적이고 조직적인 과학기술의 R&D가 이룩한 '미국식 생산양식'현출에 있었다. 1895년이후 10년동안 미국경제는 수직·수평적 통합의 거대합병현상이 일어 300여개 이상의 기업들이 합병에 참여했다. 대기업의 출현이 인식되기 시작한 초기에는 미국내의 시민들은 '부와 기회의 땅' 미국의 전통적 상징이 위협받을 것이라는 우려에서 반(反)대기업운동을 전개하였다. 대기업의 행위를 규제할 정부기구가 설치되고 규제법안이 실행되었으나, 종국적으로는 새로운 경제질서를 수용하고 받아들였다. 이는 대기업 등장이후 초래된 미국의 경제적 번영과 물질적 풍요 및 대기업운영이 이룬 경영관리체제의 효과에 연유된 것을 확인하였다.

• 비교문화연구
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• 제44권
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• pp.239-281
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• 2016

이 글은 20세기 초 러시아와 21세기 초 한국에 미래파가 존재했다는 사실에 주목하여 두 미래파의 탄생과 소멸 과정 전체를 조망하고 각국의 미래파 현상에 내재한 특수성을 일별함으로써 미래파의 운명에 대해 숙고하는 것을 목표로 한다. 본론의 1장에서는 20세기 혁명 이전의 유토피아즘 시대에 등장한 러시아 미래파의 여러 그룹, 즉 '자아미래파(эго-футуризм)', '입체미래파(кубо-футуризм)', '원심분리기(Центрифуга)', '시의 다락방(Мезонин поэзии)' 등의 탄생과 소멸 과정을 살펴본다. 또한 러시아 미래파를 대표하는 '입체미래파'가 오페라 "태양에 대한 승리"(1913)를 통해 어떻게 자신들의 '자움' 기획을 정점으로 끌어올렸으며 동시에 그 지점에서 어떻게 태생적 한계점을 노출할 수밖에 없었는지를 언어(크루쵸니흐), 음악(마츄신), 무대 장치 및 의상(말레비치) 차원에서 추적해본다. 본론 2장에서는 21세기 탈유토피아즘 시대의 한국에서 어떻게 '미래파'가 국문학사에 기록될 수 있었는지를 통시적으로 살펴본다. 한국 내 '미래파'는 '미래파'로 평가받는 황병승 등 실험주의 경향의 시인들에 의해 자발적으로 탄생한 것이 아니라 비평가 권혁웅에 의한 명명화 및 유형화 작업의 소산이라는 특수성을 지니게 된다. 그리고 이러한 특수성으로 인해 빚어진 소위 '미래파'를 둘러싼 격렬한 찬반 비평 논쟁에 비추어 시와 비평의 올바른 관계에 대해 논의한다.

• 한국제4기학회지
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• 제14권2호
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• pp.87-99
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• 2000

설악산에서 작성된 8개 지역 연륜연대기 중 강수량 복원에 적합한 대승폭포 인근 2개 지역(해발고 700~900m)의 연륜연대기를 이용하여 253년간 (A.D. 1746~A.D. 1998)의 5월~6월 총강수량을 복원하였다. 1765~1800년(최장 가뭄), 1835~1845년, 1890~1910년, 1920~1940년, 1980~1995년이 건조기로 나타났으며, 1810~1830년, 1860~1890년, 1950~1970년이 습윤한 시기로 나타났다. 장기간으로 보았을 때, 18세기 후반기는 건조한 기간이었으며, 19세기의 5월~6월 총강수량이 250mm로 20세기의 231mm보다 많아 19세기가 20세기보다 상대적으로 습윤하였음을 알 수 있었다. 강수량 변화폭이 19세기가 20세기보다 큰 것으로 관찰되었다. 전 기간에 걸친 주요한 건습 주기는 단기간은 3년, 장기간은 60~80년으로 조사되었다. 서울지방의 측우기 자료와는 1800년대 초를 제외하곤 대체로 일치하였다.

• 한국가구학회지
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• 제15권1호
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• pp.63-72
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• 2004

This study explored furniture and furniture designers in Art Nouveau which was called as Jugendstill in Germany. Jugendstill was developed on the center of Munchen, Darmstadt, and Berlin from the late 19th century to the early 20th century. And it was developed differently from Art Nouveau in the rest of European countries as the Rococo style and the Baroque style of Germany were done so. The furniture designers of Art Nouveau pronounced their use of decorative motifs from nature with birds, flowers, insects, fish, even landscape represented, but the designers in Jugendstill made the elaborate curvilinear design simply stylized and abstract: the design of Art Nouveau was seen as the superfluity of the ornament but the design of Jugendstill was seen as the simplified lines and restrain of the ornament. Hence, Jugendstill was deeply related with the scientific and rational thought of Germany, and then, it was based on the Deutscher Werkbund found by Hermann Muthesius.

• 한국복식학회:학술대회논문집
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• 한국복식학회 2005년도 International Costume Conference PROCEEDING
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• pp.114-115
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• 2005

• 복식
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• 제63권2호
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• pp.29-44
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• 2013

This study is about the periodic characteristics of Wonsam in the Joseon Dynasty. Wonsam include the Danryeong-shaped Wonsam in the beginning, the compound Wonsam in a period of transition and the stereotyped Wonsam in the late Joseon Dynasty. The formative characteristics of Wonsam are divided into four stages. The first stage of the Wonsam is from the 15th to 16th century. The shape of Wonsam began to form and it was similar to one of Danryeong during this time. The formative characteristics of the first Wonsam included collars that looked like one of Danryeong, side pleats(called Moo) with multiple inner folds, straight cylinder-shaped sleeves, and a belt tied with the Wonsam. There were various fabrics that were used for the Wonsam from this stage. Second stage of the Wonsam is from the early 17th to mid 17th century. This period marked the beginning of the transition of the Wonsam and it served as a stepping-stone to the development stage in the Joseon Dynasty. The characteristics of the transitional Wonsam were a complex combination of the Danryeong and Wonsam. During this period, the Wonsam went through many changes and forms in a short period of time. Third stage of the Wonsam is from the mid 17th to early 19th century. The Wonsam was developed at this stage. The developed Wonsam went through a period of transition equipped with a stable form. The formative characteristics of Wonsam during this period included collars that faced each other, big and wide sleeves with multicolored stripes, Hansam, curve-edged side seam and the side pleats(Moo) with multiple inner folds had disappeared. It was a turning point from the single-layered clothes to double layered clothes and from dark blue to green color appeared at this time. The fabric patterns of this stage tended to consist of more simplified silk pattern. The fourth stage of the Wonsam is from the late 19th to 20th century. The Wonsam was expanded at this stage. The formative characteristics and fabrics were typically used for the standard Wonsam and were divided into two types; as a ceremonial robe used in courts and a wedding ceremonial robe for the common people. Phenomena such as sewing of double-layered clothes as one and straight-edged side seam during the late Joseon period developed into simpler and more practical fashion culture.

• 건축역사연구
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• 제31권2호
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• pp.19-26
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• 2022

This study tries to find out the commonalities and differences during the 20th century between the characteristics of Hanyang Sijeon revealed in previous studies by identifying the location of the Sijeon (market zones) installed in Namdaega, Gaeseong, the relationship between lots and streets, and the characteristics of the building arrangements. As a result, the integrated structure of the front and the doga, the market structures of Gaeseong, which have been passed down since the Goryeo Dynasty, influenced and developed those of Hanyang. In particular, additional furnaces were installed in the front, which led to the birth of Pimat-gil alleys. In determining the size of urban space, the scale of Gaeseong City was also applied to Hanyang, which became the basis for determining lots and roads around the market zones.

• 수완나부미
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• 제1권2호
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• pp.1-20
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• 2009

This research tries to review the history and concepts of Thai temple mural painting. According to the research results, the history of Thai mural painting dates back to the late 14th century when Wat Chedi Chet Taeo in Si Satchanalai was built. The Sinhalese elements embedded in the Sukhothai murals are also found in the Ayuthayan stupa murals made in the early 15th century. The mid 18th century's Burmese invasion into Ayuthaya destroyed most of Buddhist temples in the Kingdom of Ayuthaya and as a result, Buddhist murals of the late Ayuthayan age are hardly found except for some temple murals located outside of the capital. The late Ayuthayan murals are much different from the early Ayuthayan murals in that they are narrative in depicting Jataka and the life of Lord Buddha. This classical mural painting culminated in the age of Rama III of Bangkok Dynasty. His successor Rama IV undertook westernized reforms which influenced the area of traditional mural painting. Consequently, new western style Buddhist mural paintings were produced while themes of mural painting were enlarged to the other subjects such as historical recording of royal and social events. This trend continued in the age of Rama V but the development of Thai Buddhist mural painting discontinued after the death of Rama V due to the rapid westernization and decrease of illiteracy. The existing Buddhist murals produced on or before the reign of Rama V are deteriorating and disappearing. The reasons for this are partly because of Thailand's humid climate. However, some social backgrounds such as the lack of concern for preserving old Buddhist murals can not be disregarded. Considering the substantial value of Thai Buddhist murals as a cultural resource in Thai society, it is very urgent to establish appropriate conservation policy for them.

• 한국주거학회논문집
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• 제16권5호
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• pp.117-125
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• 2005

Since Mapo Apartment was introduced as a new urban housing type in the early sixties, apartment has been a typical urban housing in our country. In these days, according to various life-styles and new attitudes about the quality of life, apartment has been developed in various types like high rise residential complex and apartments with special themes. This study has been focused on the transition of modem urban housing in France. The origin of a word, apartment, has been defined and history of apartment in French urban life has been analyzed focusing on the common space and community facilities. Representative apartments in the 18th, 19th and 20th century were selected and comparatively analyzed. Especially in the 19th century, urban housing for working class had been a major concern among the communist and the bourgeoisie and has its own characteristics relative to each other. The characteristics shown in the apartment by the communist in France have been followed in the Korean apartments since 1960's, then the recent trends are rapidly changing in the housing market in Korea. Thus, the findings of this study can be very useful to understand the recent changes of diverse housing types in our society and also be very helpful to prospect our urban housing types in the future according to the changes of new lift styles.

• 복식문화연구
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• 제6권2호
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• pp.109-126
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• 1998

The purpose of this study was to analyze the expressional characteristics of the machine aesthetics in the fashion design. First, this study was started from analyzing mechanical beauty represented on the early 20th century art style. Machine aesthetics has influenced on the art and fashion design from modern to now. Futurism was grounded in the complete renewal of human sensibility brought about by the great discoveries of science. Especially, Russia avant-garde was inspired by the Futurism, that is Rayonism, Constructivism, Suprematism. Kasimir Malevich moved on immediately to purely abstract paintings of which the first was a black square on a white canvas. He had begun the art he called 'Suprematism'. Malevich's geometry was funded on the straight line, the supremely elemental form which symbolized man's ascendancy over the chaos of nature. The square was the basic suprematist element and was a repudiation of the world of appearances, and of past art. He repudiated any marriage of convenience between the artist and the engineer. Vladimir Tatlin made some of the most revolutionary works of modern art, these were the first works to be called 'construction'. Constructivists believed that the essential conditions of the machine and the consciousness of man inevitably create an aesthetic which would reflect their time. They eulogized simple shapes. That believed that buildings and objects should be freed from the ornamental excrescences and the accumulated barnacles of past art. Consequently, under the theoretical background, the result is as follows. First, The functional formativeness of machine aesthetics was expressed as a geometrical silhouette, construction line, non-ornamental construction, simple color in the 20th century design. Second, The mechanical formativeness of machine aesthetics was expressed as a construction of new material-iron, aluminium, plastic, glass-, geometrical form of material in he 20th century design. That is, machine beauty has more concerned with the expressional ideology of the art style and the formativeness of fashion design by silhouette, construction line, material, form.