• 한국콘텐츠학회논문지
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• 제17권3호
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• pp.297-304
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• 2017

본 연구는 최근 2년 간 서울특별시 자치구 축제평가와 축제프로그램의 테마 연관도를 알아보기 위하여 상 하위 평가를 받은 각각 2개 축제를 대상으로 전문가 AHP 조사를 통해 축제평가와 축제프로그램의 테마 연관도를 분석하였다. 그 결과, 강동선사문화축제의 원시대탐험 거리퍼레이드, 한성백제문화제의 한성백제체험마을, 이태원 지구촌축제의 지구촌거리퍼레이드, 허준축제의 개막 주제뮤지컬공연의 테마 연관도가 가장 높은 것으로 조사되었고, 이 결과의 의미는 다음과 같다. 각 축제의 대표 프로그램이 선정되었다는 점, 축제테마에 밀접한 프로그램 명칭을 가지고 있다는 점, 방문객들의 직접 참여가 전제가 되는 행렬형 프로그램과 체험형 프로그램이라는 점, 그리고 축제프로그램의 테마 연관도가 높을수록 우수한 축제로 평가받고 있다는 점 등이다. 따라서 축제가 좋은 평가를 받기 위해서는 테마 연관도가 높은 프로그램들은 축제의 대표프로그램으로 집중 육성하고, 테마 연관도가 낮은 프로그램들은 테마 연관도를 높여서 축제의 다양성을 확대하여 축제 테마를 브랜드화하는 전략이 필요하다.

• 복식
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• 제61권3호
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• pp.71-82
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• 2011

This study set out to investigate the identity of everyday headgear, which is often found in many paintings of Tongshinsa, Joseon diplomatic missions to Japan, in the 18th century. That resembles Yu-geon儒巾, but on the top of the headgear are lappets like a roof. The study proceeded as follows: 1) The painting of Tongshjnsa parade in 1711 was used to analyze wearers of everyday headgear because titles of position are shown for each one. 2) Personal records of Tongshinsa in the 18th century were analyzed to examine the cases of everyday headgear. 3) Cases of everyday headgear in literature around the 18th century were examined. Those researches revealed three findings: 1) The names of everyday headgear with a roof shaped top are Gohu-gwan高厚冠 and Yeonyeop-gwan蓮葉冠. 2) Among Tongshinsa, wearers of Gohu-gwan or Yeonyeop-gwan are medical staff, interpreters, painters, and secretaries. However, it doesn't seem to have been distinction between the two types according to social class and position. 3) People wore everyday headgear, that resembled the two types in appearance, such as Mjnja-geon民字巾, Sunyang-geon純陽巾, Hwayang-geon華陽巾, Jeon-geon戰巾, or Jang-geon將巾 in China and Joseon around the 18th century. Among them, Sunyang-geon and Hwayang-geon seem to have had the closest relationship with Gohu-gwan and Yeonyeop-gwan in terms of shape and character of wearers. The analysis of the research findings led to the two following conclusions: 1) Gohu-gwan and Yeonyeop-gwan were worn as one of everyday headgear to represent appearances of a scholar. 2) Gohu-gwan and Yeonyeop-gwan could be changed versions of the similar everyday headgear or different names of them.

• 한국수학교육학회지시리즈A:수학교육
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• 제25권1호
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• pp.1-8
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• 1986

It is a common saying that markov-chain is a special case of probability course. That is to say, It means an unchangeable markov-chain process of the transition-probability of discontinuous time. There are two kinds of ways to show transition probability parade matrix theory. The first is the way by arrangement of a rightangled tetragon. The second part is a vertical measurement and direction sing by transition-circle. In this essay, I try to find out existence of procession for transition-probability applied markov-chain. And it is possible for me to know not only, what it is basic on a study of chain but also being applied to abnormal problems following a flow change and statistic facts expecting to use as a model of air expansion in physics.

• 셀메드
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• 제8권2호
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• pp.10.1-10.2
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• 2018

The aims of this article is to examine that Daegeum Sanjo Rhythm (DSR) compare with Jinyang-jangdan and Jajinmori-jangdan on music therapy. Daegeum has the largest range of notes in wind instruments through Korean music. Jangdan is the essential element of rhythm in Korean music. Just as human body sound and resonant with their rhyme and meters, jangdan has its own rhythms of physical structures and sequence and repeat. Jinyang-jangdan, which is close to western minor code, expresses heartbreaking grief and great mourning feeling, so it makes one feel the catharsis through that rhythm. Jinyang-jangdan of daegeum music may be slow, but it can be sublimated into grim music for human. So, people overcome the sadness through grim music. On the other hand, jajinmori-jangdan gives charm and gaiety to people and to everything. So, it is exciting that it's often performed in festival and parade. Rhythmical music is a tool to improve the well-being of humanity and increase our life choices. Therefore, music therapy surely needs both influences of daegeum sanjo music regardless of the rhythm. Because, daegeum sanjo music is nature-friendly music of the rhythm.

• 건축역사연구
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• 제17권4호
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• pp.25-42
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• 2008

The Gyeongbok Palace was completed during the reign of King Taejo and King Sejong in the early Joseon Dynasty. The most remarkable spacious feature of the palace is that it has an inner palace wall without an outer palace wall. The absence of the outer palace wall had its origin in the palace of the late Goryeo Dynasty which did not provide the outer palace wall. Gwanghwamoon was the main gate of the palace, and the office buildings of the Six Ministries were arranged on the right side in front of the main gate. A wide road called Six Ministries Avenue was made between the builidings. The avenue was completed during the reign of the third king of Joseon, Taejong, and it was assumed that this arrangement was influenced by the government office arrangements of Nanjing, the early capital city of the Ming Dynasty. Gwanghwamoon held national rituals as well as the civic and military state examinations nations in front of the gate. The avenue was decorated with flowers and silks when kings and the royal families, or Chinese envoys enter the gate, and the civilians watched the parade, Because there was no outer palace wall, all the events held at Gwanghwamoon and the Six Ministries Avenue ware opened to the public, it was the unique feature of Gyeongbok Palace that the palaces of Goryeo dynasty and China did not have.

• 박물관보존과학
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• 제12권
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• pp.53-58
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• 2011

국립중앙박물관이 소장하고 있는 고구려 개마총 여인행렬 벽화편에 사용된 안료의 성분 분석을 수행하였다. 분석은 비파괴 성분분석기인 X-선 형광분석기(XRF)를 사용하여 안료의 성분 원소를 확인하였다. 분석결과 벽화의 채색안료 중 적색에는 진사/주(HgS)와 산화철이 사용되었으며 흑색에는 먹, 백색에는 연백이 사용되었다. 얼굴 부분은 진사/주와 연백을 혼합하여 채색하거나 경우에 따라 채색하지 않았을 가능성이 높았다.

• 한국의상디자인학회지
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• 제18권4호
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• pp.117-124
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• 2016

This study considered about freaky design of men's wear in Edo period, and also compared and analyzed it to modern men's wear. The purpose for this study is to contribute to the development of modern men's wear by this analysis. Edo period was a male dominated period, so culture of showing off their powers appeared in their fashion as symbols of skulls, monsters or tattoos. Kabuki culture used this kind of social background and it incited the actors roles and clothes to become more famous. 2016-17 F/W, 2017 S/S modern men's wear expressed more various freaky design, so it was able to be classed as shapes, pattern, materials and total coordination. Edo period just expressed freaky design by symbols however, freaky design in modern men's wear is showing more various expressions. This study can conclude that freaky design usually shows weird, peculiar, scary and dampish images. Also freaky design showed in the persuit of various choices including parade of power in modern men's wear.

• 대한가정학회지
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• 제49권5호
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• pp.11-22
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• 2011

This study aimed to suggest more appropriate and accurate festival costumes based on a comparative analysis on various reproduced costumes and a period review of traditional festival costumes. In particular, the comparative analysis examined festival costumes which appeared in Korean and Japanese festival parades during the Baekje Period. The Baekje Cultural and Sacheonwangsawasso Festivals were examined. A literature review as well as field research and digital restorative techniques were used in the study. The reproduction patterns of Baekje costumes from both festivals were compared with original Baekje costumes, demonstrating several differences in the configuration, material, color, and shape of the costumes in addition to the way they were worn. Based on the comparative analysis, Baekje costumes used in Festivals were grouped into three categories: King's Costume, Queen's Costume, and Government Official's Costume. Dress sketches and 3D illustrations also have been presented.

• 대한건축학회논문집:계획계
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• 제35권2호
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• pp.73-82
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• 2019

The purpose of this study was to analyze the area of the southern gate in ancient temples. As the southern gate played a role of the front gate, the national or royal ceremonies had been held around the southern gates. The ancient southern gate of temples has had the place for the huge ceremonies such as a royal parade and an inspection of troops. Moreover, this place was recorded in the 'Samkooksagi(三國史記)' as Jeon-Ro(前路). The Southern gate and the Jeon-Ro had been planned together in the front area of the ancient temples, and the gate had been designed to look down the Jeon-Ro. These findings can be verified through the result of a recent excavation at a site of Hwangnyongsa temple in Gyeongju. This research confirmed that the huge ceremonies had been held at the Jeon-Ro including the area of southern gates. Furthermore, a Hwangnyongsa temple is regarded as a concrete case of verifying the composition of the area of Southern gate.

• 대한지리학회지
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• 제43권6호
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• pp.951-960
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• 2008

본 연구에서는 쓰시마시의 아리랑 축제를 사례로, 쓰시마시는 어떠한 과정을 거천 아리랑 축제를 한국인을 겨냥한 장소마케팅의 수단으로 이용해 왔는지, 아리랑 축제의 역사를 통한 민과 관의 활동에 착안하여 고찰하였다. 쓰시마시는 기존의 축제에 조선통신사 행렬과 아리랑 축제의 타이틀을 추가함으로써, 한국인 관광객을 유치하려고 노력하여 왔으나, 독도문제 등으로 인한 일부 주민들의 항의에 부딪혔다. 이에 시는 협의회를 거쳐, 지역 활성화를 위해 축제를 중지할 필요는 없지만, 2007년부터는 아리랑 축제를 서브타이틀로 사용할 것에 합의하였다. 이처럼 지역주민들은 때로는 아리랑 축제의 개최를 둘러싸고 관과 첨예하게 의견대립을 보이는 경우도 있었지만, 한편으로 그들은 축제의 운영에서 프로그램의 공연에 이르기까지 적극적으로 참가하고 있어, 쓰시마시의 아리랑 축제는 지역주민의 아이덴티티에 기초한 그들의 축제이면서 동시에 장소마케팅의 수단으로 이용되고 있음을 알 수 있고, 그 과정은 민과 관이 함께 만들어 가는 지역 만들기의 과정이라고 할 수 있다.