• 수완나부미
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• 제6권1호
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• pp.27-65
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• 2014

Flourishing in the Central Dry Zone of Burma during a period from the mid-eleventh to the late-thirteenth century A.D., the historical kingdom of Pagan was one of the major Buddhist centers in Southeast Asia. The significance of Pagan as an important pilgrimage site of the region, where numerous relics of the Buddha were enshrined, had been maintained until long after the fall of its civilization. It is evident that the artistic influences of Pagan, particularly in the architectural and decorative domains, had been transmitted to various other Buddhist civilizations in the area. This study provides a detailed analysis on the relationships between the mural tradition of Pagan and those of its neighboring civilizations in Thailand-of the Ayutthayā, Lānnā and Sukhothai schools-dating from after the Pagan Period in the fourteenth century to the sixteenth century. Surprisingly, as the analysis of this study has suggested, such relationships seemed to be trivial, more on a minor stylistic basis than on substantial ideological and iconographic grounds. They suggest that transmission of the complex idea and superb craftsmanship of the mural tradition would not have been maintained adequately at Pagan after its civilization, probably due to the lack of royal patronage. It would have been extremely difficult for foreign pilgrims who visited Pagan after its dynastic period to appreciate the surviving murals of this lost tradition in terms of their complex programs and associated symbolism. Also, there had been a new center of the Sinhalese Buddhism firmly established in the Martaban area of lower Burma since the mid-fourteenth century that outcompeted Pagan in terms of supplying the new Buddhist ideas and tradition. Its fame spread wide and far among the Buddhist communities of Southeast Asia. Later, these Buddhist communities also established direct contact with Sri Lanka. The Sukhothai murals and the Ayutthayā murals in the crypt of Wat Rātchaburana, dating from the fourteenth/fifteenth century, show obvious Sri Lankan influence in terms of artistic style and Buddhist iconography. They could be a product of these new religious movements, truly active in Southeast Asia during that time.

• 대한예방의학회:학술대회논문집
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• 대한예방의학회 2004년도 하계워크샵 및 전공의 연수교육 강의집
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• pp.45-56
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• 2004

• 대한예방의학회:학술대회논문집
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• 대한예방의학회 2003년도 하계워크샵 및 전공의 연수교육 강의집
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• pp.65-76
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• 2003

• 패션비즈니스
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• 제1권1호
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• pp.110-126
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• 1997

This dissertation intended to investigate the black color as a fashion color of the late 20th century and the aesthetic consciousness of black fashion. Black usually expressed a negative meaning, and was regarded as a color for a mourning and a sacred dress in western culture. There found several periods of black trend specially after 14th century. Black was considered as a traditional color of men's fashion since Dandyism. By the effect of art d co fashion, the perception toward black changed to a new beauty in 20th century. There continuously found a lot of aspects of black fashion in the late 20th century. In the high fashion, popularity of black, could be seen at five different look and style : The era of line alphabet, pantaloons suit style, folklore style, mannish look and unconstructive design by Japanese, and in street fashion, it showed at four different style and fashion: Beat style, mods and rockers style, punk fashion and fetish fashion. The aesthetic consciousness of black fashion at the late 20th century mentioned above should be summarized as follows. : Minimalism, dandyism, nihilism, asceticism, eroticism. In 1990s, the black appeared under the retro mood, and it should be regarded specially as one fashion trend of inclination of simplicity. Black should be called the representative color of 20th century fashion with the reason of containing the most of aesthetic consciousness in modern fashion.

• 한국식품영양학회지
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• 제24권4호
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• pp.535-550
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• 2011

The purpose of this study was to investigate changes in the cooking process of $Bibimbab$(cooked rice mixed with various ingredients) appeared in cook books published after Korean modern era, approximately from late 19th century to the present. 7 cook books were chosen to be analyzed. It is found that the ingredients were mixed with the rice before being served in the cook books written in late 19th century until mid 20th century, while the ingredients were separately decorated on top of the rice in the cook books written from mid 20th century until late 20th century. $Gochujang$(Korean chilly paste), which is common spicy seasoning for $Bibimbab$ in the present time, appeared only in $Hangukeumak$(1987) which is written in late 20th century. Prior to $Hangukeumak$(1987), chilly powder or chilly was used for chilly-based spicy seasoning. Cook books written in late 19th century until mid 20th century, ingredients used for $Bibimbab$ had complicated cooking methods such as $Jeonyueo$(assorted pan-fried delicacies), $Nurumi$(fried beef skewer with various vegetables) and $Sanjeok$(grilled beef skewer). From mid 20th century until late 20th century, among the cook books analyzed in this research, only $Hankukyoribaekguasajeon$(1976) suggested $Jeonyueo$ as an ingredient, and in general, the cooking method for preparing beef became simpler. For further studies, firstly, the cooking procedures used for $Bibimbab$ in the prior period to the Korean modern era need to be examined for more information about the changes of cooking style of $Bibimbab$. Secondly, new $Bibimbab$ recipes for modern restaurants could be created by using the recipes used in the historical cook books. Finally, the definitions of culinary terms used in historical cook books need to be clarified.

• 한국도서관정보학회지
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• 제40권3호
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• pp.203-223
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• 2009

미국 학교도서관 기준은 미국의 각 주(州) 정부의 학교도서관 정책은 물론 전 세계 학교도서관계에 지대한 영향을 미치고 있다. 미국의 학교도서관 기준은 미국교육학회(NEA) 주도로 1920년에 처음으로 제정된 이래 교육 및 기술 변화를 적극 수용하여 약 10여 차례 개정되어 왔으며, 가장 최근의 기준으로는 2009년에 AASL에서 발행한 "학습자 힘 기르기"가 있다. "학습자 힘 기르기"는 2007년과 2009년에 각각 발행한 "21세기 학습자를 위한 기준", "21세기 학습자를 위한 기준의 실천"을 바탕으로 하고 있으며, 전 세계의 학교도서관계에 영향을 끼칠 것으로 예상된다. 이에 본 연구에서는 2007년에 제정한 학교도서관 기준 관련 문서 "21세기 학습자를 위한 기준"과 "21세기 학습자를 위한 기준의 실천"의 구조와 내용을 분석하여 학교도서관계의 동향을 파악하고, 우리나라 학교도서관 정책의 바로미터로 삼고자 한다. "21세기 학습자를 위한 기준"은 학교도서관의 교육적 비전을 제시하고, 학교도서관과 사서교사가 학생들의 학습에 어떻게 기여할 수 있는가를 보여주고 있다. "21세기 학습자를 위한 기준의 실천"은 학교도서관을 통해서 기준을 실천할 수 있는 방안을 제시하고 있다.

• 한국실내디자인학회논문집
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• 제16호
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• pp.168-174
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• 1998

In the Western Civilization you can clearly see the change in the architectural system. In the 19th Century many of arcitectural style resurrected in the appearance of style revival. And each of the Style's appropriateness and exactness were very complicatedly discussed. After the middle of 19th Century a series of morality movement which showed an expectation for a historical revival started to show declining atmosphere. To architects at the periods more universal formation seeking and new surpassing style pursuing logic has exacted which care from very different from the past During this period a question were brought up about architecture ornamental rightness and appropriateness. As each of the architects had a saying about the ornament was recognized as important part of architect. On this bases this study's purpose is finding out whst is the maeaning and content of G.Semper's "Bekleidungstheorie"

• 건축역사연구
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• 제14권2호
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• pp.21-40
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• 2005

The purpose of this study was to analyze the features of the avant-garde architecture in the end of the 20th Century based on the ontology as a metalanguage. In view of the results so for achieved, it is possible to say that the thought of becoming, topology, rhizome thought and the Deleuze's concepts of the fold and the event as ever-changing and evolving at any given time are found in the avant-garde architecture, and the introduction of ontological thought into architectural design encourage hopes for a more natural and existential quality in architecture. However, the avant-garde architecture in the end of the 20th century disclosed the limitation in the architectural expression of ontological thought due to the lack of fully understand on ontology. In conclusion, the ontological approach in architecture offers a new morphological methodology and a new way of programming considering the existential aspect of space through the bricoleur's means leaving the ontological meaning of architecture itself.

• 농촌지도와개발
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• 제6권2호
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• pp.3-15
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• 1999

The objectives of this study were 1) to review the developmental process of agricultural extension services since 1960 in Korea, and 2) to suggest new paradigm of agricultural extension education in the 21st century. The study suggested major objectives of agricultural extension service in Korea should be focused on; 1) Agricultural technology transfer for environmentally friendly food production, 2) Diffusion of energy saving and safe farming technologies and upbringing export oriented agriculture, 3) Education and training of capable farmers for competitive world, and 4) Technological support for home improvement considering harmony of human, environment and life. To achieve major objectives of extension services the following strategies should be employed; 1) National administration and financing. 2) Farmer oriented services should be performed since extension education is originally two-way communication process to help farmers in better decision making, 3) Human resource development for extension educators to meet increasing demands of target population, and policy measures should be implemented to increase morale of extension educators, and 4) Role of public extension should be strengthened to meet needs of majority farmers and public interests in the knowledge based information society in the 21st century.

• 한국의상디자인학회지
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• 제15권3호
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• pp.109-118
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• 2013

Fashion icons of 21st century are not only the fashion leaders that show fashion trend but also the typical fashion signs or symbols that show visually changes in sensibility trends. The purpose of this study was to analyze the framework of 21st century fashion by the public to recognize through these changes. In this study, the background of the occurrence of various 21st century fashion icons and their characteristics were investigated and the changes of revealed features and symbolic meanings were examined compared with them of 20th century. The 24 celebrities which have been called as the bests of fashion icons since year 2000 were selected by searching the most popular search engines such as daum, yahoo and google, and 13 of them were picked as the highest in preference and awareness by surveying 50 students majoring in fashion. And then their fashion styles, backgrounds, and influence on the public fashion were studied. As a result, the 21st century fashion icons reflecting the cultural characteristics such as convergence and exaggeration and the sensitivities of fusion, collaboration, hybrid sensibility in art were powerful enough to create innovative styles destroying the era and the standard. Their styles have constantly created new looks. The exposed new individual sensitivities on media-fusion of two or more sensibility and coordination techniques without being tied to the existing anchorage system-were as influential as high fashion and leaded the imitation and reproduction by dazzling the public. As the media become more powerful, the influence of fashion icons interacted more closely with the public and has been evolved through the sensitivity of the reversal, cultural, economic, visual, or temporal fusions. To sum up, it is shown that the outstanding fashion styles suggested by the leading fashion designers have approach to the public more closely by the fashion icons.