• Smart Structures and Systems
• /
• v.14 no.3
• /
• pp.367-376
• /
• 2014

Ambient vibration techniques are nowadays a very popular tool to assess dynamic properties of buildings. Due to its non destructive character, this method is particularly valuable, especially for health monitoring of historical monuments. The present ambient vibration experiment consists on the evaluation of vibration modes of a Medieval tower. Situated in Soncino (close to Cremona, in the Northern Italian region named Lombardia), the tower of 41.5 meters height has been monitored by seismometers located at different points inside the structure. Spectral ratios of the recorded ambient vibrations clearly identify a fundamental mode at about 1 Hz, with a slight difference in the two horizontal components. A second mode is also evidenced at approx 4-5 Hz, with a moderate degree of uncertainty. The records of a ML 4.4 earthquake, occurred during the monitoring period, confirm the information obtained by microtremor analysis. Daily variations of both 1st and 2nd mode were detected: these variations, of an amount up to 2%, seem to be well related with the temperature.

• Journal of English Language & Literature
• /
• v.57 no.6
• /
• pp.1173-1198
• /
• 2011

In this paper, I discuss Chaucer's Clerk's Tale by viewing the relationship between Walter and Griselda as that of a medieval translator and his translation. My major concern is how a medieval translation can serve power, more specifically the consolidation of power under particular historical circumstances. The motive and the process of Walter's creative translation of Griselda are closely examined to show that his translation, which includes a creation of a new Griselda as a pinnacle of wifely virtue of patience, is performed as a form of political propaganda, ultimately aimed at strengthening his governing power over his people and land. My discussion of the Clerk's Tale ends with the comparison of the two translators, Walter and the Clerk, the latter of whom is an example of an unsuccessful translator for his lack of creation in the translation.

• Proceedings of the Costume Culture Conference
• /
• 2001.10a
• /
• pp.68-69
• /
• 2001

• East Asian mathematical journal
• /
• v.30 no.2
• /
• pp.173-195
• /
• 2014

This study, utilizing several features about plane figures covered in the current secondary curriculum of mathematics and reviewing two solutions to cube duplication problem presented by Menaechmus, proving the solution by Nicomedes and visualizing solutions based on Apollonius' 'Conics' by medieval Islam geometricians such as Ab$\bar{u}$ Bakr al-Haraw$\bar{i}$, AbAb$\bar{u}$ J$\acute{a}$far al-Kh$\bar{a}$zin, Nas$\bar{i}$r al-D$\bar{i}$n al-T$\bar{u}s\bar{i}$, Y$\bar{u}$suf al-Mu'taman ibn H$\bar{u}$d, introduce to teachers and students in the field where the question of cube duplication problem comes from and which solving method has developed it and suggests new methods for visualization using dynamic geometry program as well so that the contents reviewed can be used in the filed. The solving methods to cube duplication problem in this paper are very creative and increase the practicality, efficiency and value of Mathematics, and provide students and teachers with the opportunities to reconfirm the importance and beauty of basic knowledge in the secondary geometry in the process of visualization of drawing figures using dynamic geometry program.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.13 no.4
• /
• pp.127-138
• /
• 2011

The style which is created by grafting the characteristics of goth onto haute couture designer works is called 'Haute goth'. The purpose of this study is to analyze the modem Goth fashion style based on Goth's historical background and characteristics. Also, I investigated the aesthetic characteristics of haute goth style appeared from the work of haute couture designers. Goth means a member of East Germanic people who invaded and settled in the Roman Empire from the 3rd to the 5th century. Goth style had been developed to the medieval European architecture style or the literature style of 18th~19th centuries and later it was reappeared in the gothic band in the late 20th century. Goth fashion shows the characteristics of the medieval times and Victorian times mixed with punk and fetish style. Goth fashion is expressed with the images of fear, darkness, mystique, dandy and eroticism. 'Dark esthetics' is realized through black clothes, pale complexion and silver accessories. Many designers like Alexander McQueen and John Galliano designed 'haute goth fashion' in various ways. The characteristics of 'haute goth' can be summarized in four things. It creates new images, seeks various changes and pursuits newness. It upgrades a street look style gothic fashion to a luxury high fashion and the creative design with artistic value. It also shows an experimental sprit by using a unique shapes, silhouettes, different materials and extreme images or creating new combination through the mismatch of opposite objects or emotions. Although it is rooted in the past because of the influences by late medieval times, Victorian times and Edwardian times, it displays enough of future-oriented historicism designs.

• Journal of architectural history
• /
• v.12 no.2 s.34
• /
• pp.7-20
• /
• 2003

The main buildings of the important Buddhist temples - the pagoda, the Buddhist sanctum, the lecture hall - was surrounded by the cloister until Koryo Dynasty. And the Buddhist sanctum was located the center. It meant that the Buddhist sanctum was important building. It is very important thing that we understand the usage of the interior space because the architectural space consists of the unified space by the organic function of the interior space and the exterior space. But there is not so much the study on the interior space of the Buddhist sanctum. So, the purpose of this study is to understand of the interior space of the Buddhist sanctum in Ancient and Medieval Times. Till now, it was impossible that the Buddhist monk or the General public entered the Buddhist sanctum in Ancient and Medieval Times because they regarded the Buddhist sanctum as the place of sacrosanctity and the floor was finished by bricks. But, we saw that they could enter the Buddhist sanctum. Of course the floor of the Buddhist sanctum was finished by bricks, but they spread mats on the floor, took off his shoes in the interior space and used the furniture for sitting on. The plan of the Buddhist sanctum was designed by the process of the ceremony and the way of the enshrinement of the Buddhist statues because it is the place to enshrine the Buddhist statues. They performed the ceremony like as pray, worship, offer food to Buddha, HaengDo - an act to turn round an object of worship - and so on in the interior space of the Buddhist sanctum.

• Journal of the Korean Society of Costume
• /
• v.60 no.10
• /
• pp.163-179
• /
• 2010

False sleeves are 'the sleeves that are attached to clothes but exist just as a part without any function to put arms in them.' They are different from sleeves to put arms in them and are to follow the trend or a way of wearing clothes. They are mostly found in medieval Europe's decorative sleeves named 'Hanging sleeves', but they are also found in Eastern region, too. They are found in sleeves that attached women's headgear in East and Middle Asia, and also in high-class male caftan in Ottoman Turk in the 16th and 17th century. False sleeves can be divided into two kinds by shapes. The first ones are the decorative sleeves of which trunk-shaped sleeves hang around the whole or part of the arm hole but have no function to put arms in them; this is called as 'sleeve-shaped False sleeves'. These sleeves are found in women's headgear in medieval Europe, Ottoman Turk, and East and Middle Asia. False sleeves in Europe and Ottoman Turk played a role in showing wealth and power while those in East and Middle Asia had a great role in highlighting the costume's decorative effect. The second ones are the sleeves hanging down from the arms by attaching long cloth to the arm hole, in design; these are named as 'cape-shaped False sleeves.' This style is found only in medieval Europe, and presumably, these cape-shaped false sleeves may have played a role in boasting of one's wealth and power.

• Acta Via Serica
• /
• v.7 no.1
• /
• pp.53-82
• /
• 2022

The Hebrew word for silk, meshi, is mentioned in the Bible only once and there is a possibility that the item to which it referred was made of local wild silk. Although Jewish historical sources from the Roman and Byzantine periods mention silk many times, only a few silk textiles have been discovered at a sited dated to the Byzantine period (4^th-7^th centuries CE). The word "silk" occurs in the New Testament, although only once. A turning point in the history of the Negev (Southern Israel) occurred around 400 CE when it underwent a period of prosperity related to the advent of Christianity and pilgrimage, which enabled the purchase of imported silk textiles. The Early Islamic period (7-8th centuries CE) yielded four (out of 310) silk textiles from Nahal 'Omer on the Spice Routes joining Petra, in the Edom Mountains of modern Jordan, and the mercantile outlets on the Mediterranean Sea, notably Gaza and El Arish. The most important silk textile assemblage in the Southern Levant was found near Jericho at Qarantal Cave 38 and dates to the medieval period (9th-13th centuries CE). Linen textiles decorated with silk tapestry originating in Egypt date back to the 10-11th centuries CE. Mulham textiles - silk warp with hidden cotton wefts - were discovered in the medieval fortress on Jazirat Fara'un (Coral Island) in the Red Sea, 14 kilometers south of Elat and today located in Egypt. Mulham is mentioned in literary sources of the ninth century in Iraq and Iran, whence it spread through the Islamic world. The article will present aspects of the origin, transmission, and exchange of these textiles.

• Journal of The Geomorphological Association of Korea
• /
• v.26 no.2
• /
• pp.39-54
• /
• 2019

In this paper, based on evidence of coastal sediment, we show that erosion and sedimentation environments are very sensitive to sea level changes during the Medieval Warm Period (MWP) and the Little Ice Age (LIA). We identified four sedimentary units(4.57-3.07m), which formed in the Dark Age Cool Period (DACP), MWP and LIA were classified based on the lithostratigraphy, grain size distribution, magnetic susceptibility and geochemistry of a drilling core taken from the west coast of Hwaseong City. The unconformity surfaces as boundaries of the units were also identified by the lithostratigraphy shown on the drilling core. We propoese that sedimentation was dominant in the area during the periods of sea level rise, whereas erosion prevailed during the periods of sea level fall. Particularly, extreme events, such as floods and typhoons are believed to have accelerated these processes, and we found the associated evidence in sediments of two units. This study provides an example of estimating the relative sea level variation using coastal sediments and may be useful for studying past sea level changes around the Korean Peninsula.

• The Journal of the Korea Contents Association
• /
• v.18 no.1
• /
• pp.359-369
• /
• 2018

When expressing Christ visually in the medieval Christian painting, the most important issue was how to express the divinity as Son of God and the humanity as attribute of human in a balanced manner. The purpose of the study is to examine both formative and symbolic characters of divinity and humanity on the Christ's body and clothes in the Medieval paintings, Transfiguration of Christ. In the paintings, Christ's body is definite evidence to show both his divinity and humanity. In connection with the body, the clothes reveal Christ's humanity and divinity as well. Through this research, the study found that the divinity and humanity on the Christ's clothes in the Transfiguration of Christ were as follows: Blue, gold, purple, white and bleaching effect are the emblem of divinity, and red and color contrast effect with a high chroma stand for humanity of Christ. In addition, unstructured wrinkles of clothes reveal Christ's divinity, on the other hand, structured drapery shows his humanity through emphasizing volume of the body. Finally, divinity of Christ is shown on the gold clavus and red clavus intensify his humanity. Medieval Christian paintings are products planned out to express Christ's dual nature. There is a significance that the paintings represent the profession of painter's faith and the dogma of the era. Furthermore, they suggest the importance of the image to deliver the abstract concepts by visualizing.