• Cartoon and Animation Studies
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• s.39
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• pp.215-231
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• 2015

The Cultural Revolution in the history of Chinese animation hinder the development of the initial animation, and after a negative assessment instrument provided the cause is to become sluggish growth of the Chinese animation. So this time animation are things that are the subject of academic research studies or analysis has been depreciating almost uniformly without evaluation. However, of all the cultural and artistic creation it is developing in its own specific historical conditions and has the aesthetic results. This paper puts the primary purpose is to hold in consideration the aesthetic principles that led to cultural and artistic creativity and objective perspective the achievements the Chinese animation of the time period of the Cultural Revolution. Cultural Revolution is avoided to the previous period in accordance with the socialist ideology of Mao Ze-dong(毛澤東) sikindaneun highlight the culture of the proletariat and placed our goal to create a new class culture. Therefore, cultural and artistic creation of this period is often inconsistent with this part of our aesthetic principles generally accepted character has a non- elitist and anti properties. Best drama is a creative one hand as a model to implement the principles of aesthetics, art and culture Cultural Revolution period kkophimyeo reference for understanding the aesthetic principles that animated the Chinese Cultural Revolution period of orientation. This paper has San Tu Chu(三突出), Hong Guang Liang(紅光亮), and Gao Da Quan(高大全) at the time of the Cultural Revolution aesthetic principles are reflected in how the concrete work, the Cultural Revolution when the animation is how to accommodate these aesthetic principles and placed emphasis on comparative studies on best pole and correlation of the Cultural Revolution when the Chinese animation to ensure that adaptation in own way. First, after analyzing whether the aesthetic principles of focusing on the similarities of the best pole time of the Cultural Revolution and China, and how to implement animation in the works, these aesthetic principles according to the analysis of positive and negative influence on the creation of Chinese animation It was described as neutral. The detailed analysis and comparative study courses were trying to access in two significant aspects of the characters and scenes directing. In terms of character animation of the Cultural Revolution in China when a young boy or girl, emphasis should emphasize the health tinged with red lips and cheek blush to highlight the desired Gong Nong Bing(工農兵) shape as the main character and smooth texture and sophisticated highlights the glittering feeling to the touch, it was confirmed focused hayeoteum to implement the principle of 'Hong Guang Liang', highlighting the brilliant colors with a clean, bright colors. Highlighting a number of protagoniste compared to the antagonist in the animated scene of the Cultural Revolution a few times in terms of production and, among a number of protagoniste also emphasizes the outstanding hero figure, "yet three outstanding heroes heroic figures also emphasize the leading figures among the the director of the extrusion step-by-step approach "('San Tu Chu')was used. In addition, the hero figure is generally high and low angle by directing a large and perfect aesthetic appearance was to faithfully implement the principle of 'high-charged'('Gao Da Quan').

• Cartoon and Animation Studies
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• s.37
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• pp.413-437
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• 2014

As the public Japanese art, print can be said to have started from Ukiyo-e print of Edo period(江戶時代, 1603~1867). Ukiyo-e(浮世繪) print, which 3 persons jointly produce, henceforth has gradually declined since the meiji period(明治時代, 1868~1912) due to the development of new print technique and introduction of western art. Since then, during the daiso period(大正時代 1912~1926), creative print movement grew up. Creative print is, differently from Ukiyo-e print, to be produced by one person, from the original picture to print, focusing on creating the artist's own work by being the main agent of the work. During before and after 1900s, print was evaluated low in Japan, compared to western painting, sculpture, etc. Nevertheless, the facts that several Japanese print artists received awards from international exhibits since 1950s became a big topic internationally, which became an opportunity to hold Tokyo International Print Biennale in 1957 in Japan, the first international art festival. From then on, print was recognized as an art genre while new recognition on it was gradually accepted also in Japan. In 1970, a controversy on it arose, while the characteristic of print as a medium of modern art became strong, accordingly, a controversy on it arose. However, in 1980, it firmly established itself as an art genre by overcoming the crisis through various efforts in the dimension of print artists and university education. Since then, print artists who produce new works with completeness by applying traditional technique and modern expression mode emerged, and until now Japanese modern print art is highly recognized by the world through the continuous overseas activities, research on print art, and cultivation of young print artists. This research looked back on the historical process when Japanese modern print art was created, which represents Asia, and investigated the cause that it could have win an international fame.

• Journal of The Korean Association For Science Education
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• v.20 no.1
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• pp.52-76
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• 2000

Following the previous study focused on the period until the middle of the 20th century, this study tried to show how STS-related ideas have been developed historically in British science education, particularly focused on the period of the 2nd half of the 20th century. Like the USA, the UK witnessed the development of numerous academically-oriented programs, such as Nuffield projects, during the 1950-60s. However, during the 1970s, there had been growing criticism against the discipline-centered science education and some new noticeable approaches had been made to compensate the contemporary trend. For example, although its main focus was on the integrated approach in school science, the SCISP was quite successful to illustrate the importance of the relationship between science and society. Following this example, Science in Society and SISCON-in-Schools were more ambitious in developing genuine STS programs. These two projects were developed simultaneously and took the form of modules, rather than of textbooks. Nevertheless, Science in Society was more concerned with the applied and industrial aspects of science while SISCON-in-Schools was more inclined to the historical, philosophical and social aspects of science. During the 1980s, far more ambitious attempts had been made to develop full-scale STS programs, i.e. Salters' Chemistry/Science and SATIS. These two programs have been developed with the active corporation from the ASE and soon became the typical examples of the STS approach across the world. Besides the similarities between them, Salters' approach is more application-oriented, subject-oriented, and textbook-like while SATIS is more socially-oriented, issue-oriented and module-style. In summary, the history of STS approach in school science shows that the STS programs were developed under the different social backgrounds and initiated by different groups of the people who have different views towards the purposes of school science and that the STS approach is certainly not the exclusive characteristic of the last period of the 20th century. Finally, the features of the major STS programs developed in Britain during the 20th century are summarized and compared in relation to the Ziman's criteria of the possible approaches in STS education. And some general conclusion are drown based on the study of the history of the STS approaches in Britain.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.4
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• pp.83-99
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• 2008

Images of Seong-Nam appears different according to diverse conditions. This study was intended to analyze the differences of cognition by personal characteristics such as age, gender, location, and period when an individual evaluates an urban image. This research focused on the interpretation of the visualized results from Multidimensional Scaling (MDS) and Individual Difference Scaling (INDSCAL) with two questionnaires. This study can be summarized as follows: 1. Namhan Sansung was ranked as the first symbolic property by citizens in Seong-Nam. Next was Yuldong Park, followed by Bundang Central Park, Seohyun Station including Samsung Plaza, and, finally, Moran Market. This trend also similarly appeared in the selection of preferred places. 2. There were no statistical differences in trends of choice of symbolic landmarks and preferred places according to age, gender, and period; however, there were meaningful differences according to location. 3. The total image of Seong-Nam was positioned to be separated from images of other districts and landmarks on the image spatial plot by MDS; however, images of the old and new district were plotted close to symbolic landmarks where located around each district. 4. INDSCAL illustrated that men weighted the historical meaning while women weighted preference and city size when evaluating an urban image. On the other hand, there was no difference in cognitive trends according to age, location, and period. Until now, an individual difference in the cognition and evaluation of an urban image was a socially accepted notion. However, this study verified the difference according to personal characteristics and developed a practical tool to analyze an individual cognition trend about a city image.

• Radiation Oncology Journal
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• v.21 no.1
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• pp.35-43
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• 2003

Purpose :To analyze the survival period, prognostic factors and complications of patients having undergone high-dose-rate intraluminal brachytherapy (HDR-ILB) as a salvage radiation therapy, while having a catheter, for percutaneous transhepatic billary drainage (PTBD), inserted due to biliary obstruction caused by a secondary malignant biliary tumor Methods and Materials : A retrospective study was performed on 24 patients having undergone HDR-ILB, with PTBD catheter Insertion, be)ween December 1992 and August 2001. Their median age was 58.5, ranging from 35 to 82 years. The primary cancer site were the stomach, gallbladder, liver, pancreas and the colon, with 12, 6, 3, 2 and 1 cases, respectively. Eighteen patients were treated with external beam radiation therapy and HDR-lLB, while slx were treated with HDR-lLB only. The 4otal external beam, and brachytherapy radiations dose were 30$\~$61.2 and 9$\~$30 Gy, with median doses of 50 and 15 Gy, respectively. Results : Of the 24 patients analyzed, 22 died during the follow-up period, with a median survival of 7.3 months. The 6 and 12 months survival rates were 54.2 (13 patients) and 20.8$\%$ (5 patients), respectively. The median survivals for stomach and gailbladder cancers were 7.8 and 10.2 months, respectively, According to the unlvariate analysis, a significant factor affecting survival of over one year was the total radiation dose (over 50 Gy) (o=0.0200), with all )he patients surviving more than one year had been Irradiated with more than 50 Gy. The acute side effects during the radiation therapy were managed with conservative treatment. During the follow-up period, 5 patients showed symptoms of cholangltis due to the radiation therapy Conclusion :An extension to the survival of those patients treated with HDR-ILB is suggested compared to the median historical survival of 4hose patients treated with external biliary drainage. A boost radiation dose could be effectively given, by performing HDR-lLB, which is a prognostic factor In addition, the acute complications of radiation therapy were effectively controlled by conservative management, and It could be regarded as a safe treatment.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.4
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• pp.132-142
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• 2014

This study is the first stage to identify distinctive characteristics of American Romantic Garden compared to English Romantic Garden. The purpose of the study is to identify characteristics of transitional garden in the early period of America by analyzing of Paca garden, Mount Vernon and Monticello when English Naturalistic Garden was firstly imported. The analysis studied historical background, people who designed garden, formal garden and characteristics of natural garden through reference. Also based on data through reference and field research, spatial configuration and garden factors of each site were analyzed. In spatial configuration, straight line and curve line, formal terrace and natural slope, visible axis and invisible axis, symetric and asymmetric, and perspective and oblique perspectives were used as analyzing factors. As a result of analysis, each garden showed different type from that of formal gardens from colony period, which is natural garden of asymmetric garden(English natural garden) coexisted. Paca garden which planned formal garden and natural garden in each space showed characteristics of each space, but in formal garden residential axis and garden axis does not coincide which shows it is out of formal garden type. Such phenomena and the fact that naturalistic garden coexist in the same garden shows that the formal garden type from early days in US is starting to change in different types. Mount Vernon garden, similar to Paca garden, was designed to have two different types of gardens in harmony rather than divide the space into different space and design it. It adapted serpent walkway but shows symmetric by central axis and considered formalistic plan through same materials. However through terrace in hills and spatial plan of oblique perspective, one could observe that naturalistic type was beginning to settle in US gardens. Through Monticello analysis, space was designed with major characteristics of naturalistic garden which is serpent walkway, ornamental farm, winding flower bed grove and bush and oblique perspective, and it completely duplicates characteristics of naturalistic garden which could not be found in gardens imported from UK.

• Journal of Intelligence and Information Systems
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• v.16 no.3
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• pp.163-179
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• 2010

Recentlythe concept of fast fashion is drawing attention as customer needs are diversified and supply lead time is getting shorter in fashion industry. It is emphasized as one of the critical success factors in the fashion industry how quickly and efficiently to satisfy the customer needs as the competition has intensified. Because the fast fashion is inherently susceptible to trend, it is very important for fashion retailers to make quick decisions regarding items to launch, quantity based on demand prediction, and the time to respond. Also the planning decisions must be executed through the business processes of procurement, production, and logistics in real time. In order to adapt to this trend, the fashion industry urgently needs supports from intelligent quick response(QR) system. However, the traditional functions of QR systems have not been able to completely satisfy such demands of the fast fashion industry. This paper proposes an intelligent quick response system for the fast fashion(IQRS-FF). Presented are models for QR process, QR principles and execution, and QR quantity and timing computation. IQRS-FF models support the decision makers by providing useful information with automated and rule-based algorithms. If the predefined conditions of a rule are satisfied, the actions defined in the rule are automatically taken or informed to the decision makers. In IQRS-FF, QRdecisions are made in two stages: pre-season and in-season. In pre-season, firstly master demand prediction is performed based on the macro level analysis such as local and global economy, fashion trends and competitors. The prediction proceeds to the master production and procurement planning. Checking availability and delivery of materials for production, decision makers must make reservations or request procurements. For the outsourcing materials, they must check the availability and capacity of partners. By the master plans, the performance of the QR during the in-season is greatly enhanced and the decision to select the QR items is made fully considering the availability of materials in warehouse as well as partners' capacity. During in-season, the decision makers must find the right time to QR as the actual sales occur in stores. Then they are to decide items to QRbased not only on the qualitative criteria such as opinions from sales persons but also on the quantitative criteria such as sales volume, the recent sales trend, inventory level, the remaining period, the forecast for the remaining period, and competitors' performance. To calculate QR quantity in IQRS-FF, two calculation methods are designed: QR Index based calculation and attribute similarity based calculation using demographic cluster. In the early period of a new season, the attribute similarity based QR amount calculation is better used because there are not enough historical sales data. By analyzing sales trends of the categories or items that have similar attributes, QR quantity can be computed. On the other hand, in case of having enough information to analyze the sales trends or forecasting, the QR Index based calculation method can be used. Having defined the models for decision making for QR, we design KPIs(Key Performance Indicators) to test the reliability of the models in critical decision makings: the difference of sales volumebetween QR items and non-QR items; the accuracy rate of QR the lead-time spent on QR decision-making. To verify the effectiveness and practicality of the proposed models, a case study has been performed for a representative fashion company which recently developed and launched the IQRS-FF. The case study shows that the average sales rateof QR items increased by 15%, the differences in sales rate between QR items and non-QR items increased by 10%, the QR accuracy was 70%, the lead time for QR dramatically decreased from 120 hours to 8 hours.

• The Journal of Art Theory & Practice
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• no.8
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• pp.33-58
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• 2009

This paper examines four genre paintings on the subject of child education by Jean-Baptiste-Sim${\'{e}}$on Chardin(1699-1779). The Governess, The Diligent Mother, Saying Grace, and The Morning Toilette garnered critical attention after they were exhibited in the Salon from 1739 to 1741. After the exhibition, the paintings were made into prints and frequently sold to members of the bourgeois class in Paris. The iconographical details of Chardin's genre paintings have, thus far, been compared to Dutch genre pictures of the seventeenth century. Further, most studies conducted on Chardin's paintings focus on formal analysis rather than the historical and social contexts. Through attempting social-contextual readings of Chardin's educational series, this paper argues that the significance of Chardin's painting series of child education lies in his representation of the ideal French bourgeois family and the standard of early childhood education in the eighteenth-century French Enlightenment period. In each of the four child education paintings, Chardin depicted a mother with children in a domestic space. Even though this theme derives from traditional Dutch genre paintings in the seventeenth century, the visual motifs, the pictorial atmosphere and the painting techniques of Chardin all project the social culture of eighteenth century France. Each painting in the child education series exemplifies respectively the attire of a French gentlemen, the social view on womanhood and the education of girls, newly established table manners, and the dressing up culture in a 'toilette' in eighteenth century France. Distinct from other educational scenes in previous genre paintings, Chardin accentuated the naive and innocent characteristics of a child and exemplified the mother's warmth toward that child in her tender facial expressions and gesturing. These kinds of expressions illustrate the newly structured standard of education in the French Enlightenment period. Whereas medieval people viewed children as immature and useless, people in the eighteenth century began to recognize children for their more positive features. They compared children to a blank piece of paper (tabula rasa), which signified children's innocence, and suggested that children possess neither good nor bad virtues. This positive perspective on children slowly transformed the pedagogical methods. Teaching manuals instructed governesses and mothers to respect each child's personality rather than be strict and harsh to them. Children were also allotted more playtimes, which explains the display of various toys in the backgrounds of Chardin's series of four paintings. Concurrently, the interior, where this exemplary education was executed, alludes to the virtue of the bourgeois's moderate and thrifty daily life in eighteenth century France. While other contemporary painters preferred to depict the extravagant living space of a French bourgeoisie, Chardin portrayed a rather modest and cozy home interior. In contrast to the highly decorated living space of aristocrats, he presented the realistic, humble domestic space of a bourgeois, filled with modern household objects. In addition, the mother is exceptionally clad in working clothes instead of fashionable dresses of the moment. Fit to take care of household affairs and children, the mother represents the ideal virtues of a bourgeois family. It can be concluded that the four genre paintings of child education by Chardin articulate the new standards of juvenile education in eighteenth century France as well as the highly recognized social virtues between French bourgeois families. Thus, Chardin's series of child education would have functioned as a demonstration of the ideal living standards of the bourgeois class and their emphasis on early childhood education in the French Enlightenment period.

• The Journal of Art Theory & Practice
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• no.5
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• pp.217-229
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• 2007

Many historical research and facet about modern art in Indonesia which formulating background of contemporary Indonesian Art. Indonesian art critic Sanento Yuliman states that Modern art has been rapidly developing in Indonesia since the Indonesian Independence in 1945. Modern Art is a part of the super culture of the Indonesian metropolitan and is closely related to the contact between the Indonesian and Western Cultures. Its birth was part of the nationalism project, when the Indonesian people consists of various ethnics were determined to become a new nation, the Indonesian nation, and they wished for a new culture, and therefore, a new art. The period 1960s, which was the beginning of the creation and development of the painters and the painters associations, was the first stage of the development of modern art in Indonesia. The second stage showed the important role of the higher education institutes for art. These institutes have developed since the 1950s and in the 1970s they were the main education institutes for painters and other artists. The artists awareness of the medium, forms or the organization of shapes were encouraged more intensely and these encouraged the exploring and experimental attitudes. Meanwhile, the information about the world's modern art, particularly Western Art; was widely and rapidly spread. The 1960s and 1970s were marked by the development of various abstractions and abstract art and the great number of explorations in various new media, like the experiment with collage, assemblage, mixed media. The works of the Neo Art Movement-group in the second half of the 1970s and in the 1980s shows environmental art and installations, influenced by the elements of popular art, from the commercial world and mass media, as well as the involvement of art in the social and environmental affairs. The issues about the environment, frequently launched by the intellectuals in the period of economic development starting in the 1970s, echoed among the artists, and they were widened in the social, art and cultural circles. The Indonesian economic development following the important change in the 1970s has caused a change in the life of the middle and upper class society, as has the change in various aspects of a big city, particularly Jakarta. The new genre emerged in 1975 which indicates contemporary art in Indonesia, when a group of young artists organized a movement, which was widely known as the Indonesian New Art Movement. This movement criticized international style, universalism and the long standing debate on an east-west-dichotomy. As far as the actual practice of the arts was concerned the movement criticized the domination of the art of painting and saw this as a sign of stagnation in Indonesian art development. Based on this criticism 'the movement' introduced ready-mades and installations (Jim Supangkat). Takes almost two decades that the New Art Movement activists were establishing Indonesian Installation art genre as contemporary paradigm and influenced the 1980's gene ration like, FX Harsono, Dadang Christanto, Arahmaiani, Tisna Sanjaya, Diyanto, Andarmanik, entering the 1990's decade as "rebellion period" ; reject towards established aesthetic mainstream i.e. painting, sculpture, graphic art which are insufficient to express "new language" and artistic needs especially to mediate social politic and cultural situation. Installation Art which contains open possibilities of creation become a vehicle for aesthetic establishment rejection and social politics stagnant expression in 1990s. Installation art accommodates two major field; first, the rejection of aesthetic establishment has a consequences an artists quest for medium; deconstruction models and cross disciplines into multi and intermedia i.e. performance, music, video etc. Second aspect is artists' social politic intention for changes, both conclude as characteristics of Indonesian Installation Art and establishing the freedom of expression in contemporary Indonesian Art until today.

• Journal of Korean Historical Folklife
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• no.45
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• pp.263-289
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• 2014

King Munjong(文宗), the eleventh King of the Goryeo Dynasty, was the son of King Hyeonjong(顯宗), the eighth king, and the younger stepbrother(異母弟) of King Jeongjong(靖宗), the 10th king. Although King Jeongjong had four sons, he abdicated the throne to King Munjong. King Taejo(太祖) had opened the possibility for sons other than the eldest son to succeed to the throne. When King Jeongjong died, his sons were children under the age of 10 years. In the early period of the Goryeo Dynasty, when kings had young sons, there were precedents of abdicating the throne to their grown-up younger brothers. In addition, King Jeongjong and Munjong had an identical blood background. During the period, Goryeo people also naturally accepted the fact that a former king's younger brother succeeded to the throne. In this background, King Munjong ascended the throne. However, King Munjong did not ascend the throne after identifying state affairs with politic power. Therefore, he needed to increase his authority as the king. Moreover, as the sons of King Jeongjong had grown up, they could stir up trouble in future succession to the throne. Therefore, King Munjong intended to concentrate power on himself and remove trouble in future succession to the throne by selecting his son as successor to the throne. After the installation of Wangtaeja(王太子, the Crown Prince), King Munjong expanded and organized Donggunggwan(東宮官, the establishment of Secretariat of Wangtaeja) and carried out various rituals related to Wangtaeja. The control system for Donggunggwan was completed institutionally in 1068. At this time, the newly organized Donggunggwan was operated as a miniature version of the central government office. In addition, the ritual for the installation of Taeja, which was held in 1054, complied with regulated procedures. After the ritual of the installation, a ceremony to congratulate on Jangheungjeol(長興節, the birthday of Wangtaeja) was held in 1056. In 1064, the wedding ritual of Taeja took place, and the ritual for Taeja regulated in Yeji(禮志) of "Goryeosa(高麗史)" was carried out. In addition, the installation of Wangtaeja was made known overseas, and the Taeja of Goryeo was proclaimed by the Kitan three times. Such various measures played an important role in strengthening the status of Taeja as the man of authority next to the king. Later, Taeja demonstrated his status as the man of authority following the king by participating in state affairs on behalf of King Munjong who was not able to move about freely in his later years.