• 한국실내디자인학회논문집
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• 제39호
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• pp.3-11
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• 2003

The attempt to find the origin of Post-modern aesthetics from the Middle Ages is easy to perceive the thinking system of contemporary design. The Middle Ages showed that things and God's relation were symbolized all things were connected with analogical ideas as mysticism(alchemy, gnosticism), and God's world was represented with the metaphor. While the hybrid style of Post-modern architecture expressed that the rationalism was opposed to Ideology, partly, the idea of irrational with mysterious, also unscientific with analogical discourse . And the Symbolism of Post-Modern Design is means of popular Communication. Exactly, the common feature of ideology with pre-rationalism and anti-rationalism are against the dominated ideology in present. In conclusion, the relation of significancy effect In Chaos and In composition can be considered inspirational source historically.

• 한국가구학회지
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• 제23권4호
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• pp.440-448
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• 2012

The historical consciousness of furniture is one of the crucial elements that become the medium for initiating design. Also, it is an important task of the science to figure out the headstream of furniture being used these days. From this purpose, this study intends to understand the bureau that has not been studied much in terms of the headstream and changes based on historical facts centering around England, France, or America regarding the forms or terms. These points are expected to be used as the foundational research data to develop the science and products.

• Acta Via Serica
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• 제6권2호
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• pp.21-36
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• 2021

This paper discusses textile motifs depicted in the hunting panels inside the late Sasanian larger grotto at Taq-i Bustan. Scholars of Iranian art have referred to these rock reliefs in order to trace the origin of Sasanian textile decorations and their exportation in the whole medieval Eurasian continent. This however does not seem to be the case. In fact, the textile motifs reproduced at Taq-i Bustan could be a good term of comparison only for late Sasanian textile production. Moreover, nothing like this has appeared in previous Sasanian rock reliefs. For this reason, the present paper argues that some of those motifs could actually be importations from Central Asia where reproductions of textiles embellished with those motifs were very popular. Islamic written sources on Taq-i Bustan rock reliefs could be very useful to support some ideas expressed in this paper.

• 식품과학과 산업
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• 제53권3호
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• pp.295-306
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• 2020

In Korea, confectionery refers to biscuits, snacks, chocolate, candy and gum. The first sweet in Korea is the Yumilkwa (oil-and-honey pastry) in the Goryeo Dynasty which was mentioned in history book, and is seen to be popular in medieval Korea. Korea's confectionery industry began in 1945 with the aid of the U.S. forces, Haitai Confectionery company produced sweets. The first confectionery product is 'Yeon yang gang'. In the 1970s and 1980s, the confectionery industry developed along with economic growth in Korea, and many of the products released at this time are still loved. Now the domestic market is saturated, sales of domestic confectionery companies are decreasing due to low-priced offers made by importers. It is necessary to develop products with high quality and brand power that can lead the market, and I think it is necessary to target the undeveloped market like the Halal market.

• East Asian mathematical journal
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• 제37권4호
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• pp.499-521
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• 2021

This research is devoted to investigate Omar Khayyām's geometric solution for the cubic equation using conic sections in the Medieval Islam as a useful alternative connecting logic geometry with analytic geometry at a secondary school. We also introduce Omar Khayyām's 25 cases classification of the cubic equation with all positive coefficients. Moreover we study 6 cases with 4 terms of 25 cubic equations and in particular we reinterpret geometric methods of solving in 2015 secondary Mathematics curriculum and visualize them by means of dynamic geometry software.

• Acta Via Serica
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• 제7권1호
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• pp.29-52
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• 2022

This study investigates why Khwārazmshāh's rulers abandoned Khwārazm, their capital before the Mongols invaded this city. From a local dynasty in Khwārazm under the Saljuqs, the Khwārazmshāh dynasty (ca.469-628/1077-1231) rapidly expanded in the region. After conquering the Saljuqs (ca.429-590/1037-1194), they extended their territory from Hamedān in western Iran to Samarqand in Transoxiana and beyond that to Otrār to become one of the world's great medieval empires. During this critical time, Khwārazm remained their central hub of power. However, the split in the power of the Khwārazmshāh dynasty under Sultan Muhammad (ca.596-617/1200-1220) contributed to their failure to recognize the strategic role of Khwārazm in retaining and reconstructing their power. In essence, the Khwārazmshāh state was divided before the Mongol Invasion.

• Acta Via Serica
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• 제8권1호
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• pp.55-70
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• 2023

Carpets are a useful tool for highlighting the cultural uniqueness of a region because their characteristic usage often reveals distinctive natural features of the place or the unique cultural identity of a group. Investigating anecdotes and associated patterns found in three medieval trans-Eurasian travelogues, this paper focuses on observations made by the Chinese Buddhist monk, Faxian, the Sunni pilgrim and scholar, Ibn Battuta, and Marco Polo, the Venetian merchant examining their thoughts, observations, and perspectives on carpet-related customs in their experienced contexts. In particular, this manuscript touches on the controversies, impacts, and narratives associated with carpet practices observed in each travel writer's context respectively, concluding that each traveler shows several things in common rather than showing different patterns depending on the characteristics of their religion. Overall, they observed the uses of carpets according to their jobs and travel purposes and appropriately detailed related episodes if the intended purpose and context matched the uses.

• 영어영문학
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• 제58권1호
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• pp.143-161
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• 2012

The primary purpose of the present essay is to survey the relationship between Chaucer's fatherhood and English nationalism. Chaucer as a nationalist poet with essential Englishness is a product of the pre-modern nationalist project initiated between the late thirteenth century and early fourteenth century. In this period, as Turville-Petre regards, the English nationalist identity started to rise in language and literature. Thus this essay surveys the pre-modern nationalist discourse before Chaucer and how it influenced Chaucer to spawn his own nationalist discourse. The latter half of this project, as a reception study, surveys the nationalist receptions of Chaucer in the nineteenth century, when the connection between Chaucer studies and jingoistic nationalism was highly circumstantial. In terms of Chaucer's reception, the nineteenth-century was a crucial period: during this period the nationalist discourse and Chaucer studies firmly combined and Chaucer was envisaged as a boastful nationalist poet. The essay's discussion generally revolves around Chaucer's fatherhood and his exclusive Englishness; "Chaucer the father" is nationalist rhetoric which mediates thirteenth century post-colonialism and nineteenth-century colonialism.

• 대순사상과 동아시아종교
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• 제3권1호
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• pp.13-32
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• 2023

Both the late 15th-century Unicorn Tapestries now at the Cloisters Museum in New York and Daesoon Jinrihoe's Simudo Paintings present a religious narrative through the symbol of the search for an animal that is then subdued. This is now the prevailing scholarly interpretation of the New York Unicorn Tapestries, with the unicorn representing Jesus Christ, although a concurrent reading alluding to human love cannot be excluded. The article examines the New York Unicorn Tapestries according to their Christological interpretation, rooted in traditions about the unicorn popularized by the German medieval mystic Hildegard of Bingen, although in fact much older. It then discusses the Buddhist iconographic tradition of ox-herding paintings that represents an antecedent for the Simudo Paintings and notes the latter's differences and similarities with the New York Unicorn Tapestries.

• 한국시조학회지:시조학논총
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• 제42권
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• pp.151-185
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• 2015

본 연구는 사설시조에 나타난 '아이'의 양상과 그 시가사적 함의를 갈래사적 전통 속에서 한번 살펴본 것이다. 그간 시조 문학 연구에서 '아이'는 대체로 부수적인 존재, 관습적인 청자로서만 이해되어 왔지만 담론의 측면에서 보면, 서정의 맛과 멋을 한껏 드러내던 작품 세계(자아지향)를, 타자를 전제로 한 대화적 구조로 탈바꿈시키는 기능을 하기에 그 의미망이 결코 가볍지 않다. 먼저 사설시조에는 크게 침묵하는 아이와 발화하는 아이의 두 가지 형태가 발견된다. 전자는 호명된 존재, 관습적이면서 말 없는 수동적인 존재, 타자화 대상화 된 존재라면, 후자는 발화하는 적극적 주체, 근대성의 표지를 담보하는 주체의 모습을 보여준다. 이러한 차이는 발화 형태의 차이를 넘어서 미학적 질서의 차이를 노정하기도 한다. 즉 전자의 '아이'는 시적 화자의 내면적 요청에 의해 관념적으로 생산된 것인 만큼 주로 시적 화자의 서정성을 극대화하는 장치로서 활용될 뿐만 아니라 독자-텍스트 간의 동일화 담론의 미학적 질서를 형성한다면, 후자의 '아이'는 이질적인 발화들이 만들어내는 공명으로 인해 텍스트에 역동성을 부여함은 물론 독자-텍스트 간의 거리화 담론의 미학적 질서를 형성한다. 사설시조의 아이가 보여주는 이러한 면면들은 전대 시가에서 이미 그 편린들이 발견된다. 향가의 경우, 타자의 결핍을 해소하기 위해 요청된 존재로서 발화하지만 대상화된 존재로서의 '아이'가, 고려 속요의 경우 시적 화자에 의해 침묵을 강요받지만 이를 자발적인 발설로 깨뜨려버리는 적극적인 '아이'가, 시조의 경우는 '아이'의 훈육 및 성장과 관련한 노래가 등장하기도 해서 특이점을 보여주긴 하지만 발화의 측면에서 대체로 시적 화자에 의해 대상화 된 '아이'가 우세하게 등장하는 점이 바로 그것이다. 사설시조를 포함해 전대 시가에서 발견되는 이러한 아이의 모습은 주로 중세가 부과한 아이의 모습과 연결된다면, 이전 시가에서와는 달리, 사설시조만이 보여주는 새로운 아이의 모습은 중세에서 근대로의 이행기, 시대적 징후의 단면들을 보여준다. 즉 작품 편수가 많지는 않지만, 사설시조에서 발견되는 적극적인 '아이'의 모습은 '개인'을 내세우면서 더 이상 중세가 부과한 '아이다움'의 테두리에 있지 않는 새로움을 보여준다. 사설시조의 '아이'가 보여주는 새로움은 순진무구한 존재로서 '아동(child, infant)'이라는 근대적 개념과는 거리가 있지만, 발화 속에서 제시되는 다성성, 웃음, 개인의 중시, 다중 시선 등의 측면에서 근대의 일면을 드러낸다는 점에서 주목된다.