• International Journal of Contents
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• 제11권1호
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• pp.41-51
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• 2015

Management systems for electronic library have been developed on the basis of Client/Server or ASP framework in domestic market for a long time. Therefore, both service provider and user suffer from their high cost and effort in management, maintenance, and repairing of software as well as hardware. Recently in addition, mobile devices like smartphone and tablet PC are frequently used as terminal devices to access computers through the Internet or other networks, sophisticatedly customized or personalized interface for n-screen service became more important issue these days. In this paper, we propose a new scheme of integrated management system for electronic library based on SaaS and Web Standard. We design and implement the proposed scheme applying Electronic Cabinet Guidelines for Web Standard and Universal Code System. Hosted application management style and software on demand style service models based on SaaS are basically applied to develop the management system. Moreover, a newly improved concept of duplication check algorithm in a hierarchical evaluation process is presented and a personalized interface based on web standard is applied to implement the system. Algorithms of duplication check for journal, volume/number, and paper are hierarchically presented with their logic flows. Total framework of our development obeys the standard feature of Electronic Cabinet Guidelines offered by Korea government so that we can accomplish standard of application software, quality improvement of total software, and reusability extension. Scope of our development includes core services of library automation system such as acquisition, list-up, loan-and-return, and their related services. We focus on interoperation compatibility between elementary sub-systems throughout complex network and structural features. Reanalyzing and standardizing each part of the system under the concept on the cloud of service, we construct an integrated development environment for generating, test, operation, and maintenance. Finally, performance analyses are performed about resource usability of server, memory amount used, and response time of server etc. As a result of measurements fulfilled over 5 times at different test points and using different data, the average response time is about 62.9 seconds for 100 clients, which takes about 0.629 seconds per client on the average. We can expect this result makes it possible to operate the system in real-time level proof. Resource usability and memory occupation are also good and moderate comparing to the conventional systems. As total verification tests, we present a simple proof to obey Electronic Cabinet Guidelines and a record of TTA authentication test for topics about SaaS maturity, performance, and application program features.

• 한국과학교육학회지
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• 제32권2호
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• pp.402-414
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• 2012

이 연구에서는 포화 용액 개념 학습에서 비유 표현방식과 언어적 학습 양식에 따른 비유 사용 수업의 효과를 대응 관계 이해도, 대응 오류, 수업에 대한 인식 측면에서 조사했다. 1개 초등학교 5학년 학생 123명을 선정하여 VA 집단(n=63)과 VPA 집단(n=60)으로 배치했다. 사전 검사로 언어적 학습 양식 검사를 실시했다. VA 집단의 학생들은 글로만 표현된 비유로 목표 개념을 학습했고, VPA 집단의 학생들은 글과 그림으로 표현된 비유로 목표 개념을 학습했다. 목표 개념 학습 후, 대응 관계 이해도 검사를 실시했다. VPA 집단 학생들에게는 수업에 대한 인식 검사도 실시했으며, 일부 학생들을 대상으로 심층 면담도 실시했다. 연구 결과, 언어적 학습 선호 학생들의 경우 VPA 집단의 점수가 VA 집단의 점수보다 낮았으며, 그 차이가 통계적으로 유의미했다. 반면, 언어적 학습 비선호 학생들의 경우에는 두 집단 간 점수 차이가 통계적으로 유의미하지 않았다. 대응 불이행, 부적절한 대응, 무분별한 대응, 불가능한 대응, 표면적 속성 대응의 다섯 가지 대응 오류 유형이 나타났다. 언어적 학습양식에 따라 두 집단의 대응 오류 유형별 발생 빈도가 다른 양상을 보였다. 언어적 학습 양식에 관계없이 VPA 집단의 많은 학생들이 글과 그림으로 표현된 비유를 통해 학습하는 것에 대해 다양한 인지적 동기적 측면에서 긍정적으로 인식했으나, 일부 학생들은 몇 가지 어려움을 지적하기도 했다. 이에 대한 교육학적 함의를 논의했다.

• 만화애니메이션 연구
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• 통권32호
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• pp.1-21
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• 2013

실루엣 애니메이션은 애니메이션의 시작을 알린 20세기 초반부터 애니메이션의 한 장르로 인정받아왔으며, 특유의 움직임과 조형성은 다양한 의미론적 해석과 조형적 활용을 가능케 해왔다. 특히 프랑스의 애니메이션 감독 미셀 오슬로는 실루엣 애니메이션에 디지털을 접목하여 실루엣 애니메이션의 확장 가능성을 끊임없이 모색하고 새로운 활로를 개척하고 있다. 최근작인 <밤의 이야기>는 3차원 입체로 실루엣 애니메이션을 제작함으로써 실루엣 애니메이션이 가지고 있던 고질적 한계들을 그만의 방식과 스타일로 진화시켰다. 오슬로 감독은 점점 더 사실적인 움직임을 지향하는 디지털 애니메이션의 흐름 속에서도 선택된 움직임과 대안적 요소들을 통해 느림의 미학을 제시한다. 뿐만 아니라, 정서, 감정 등의 무의식적 요소들을 강조하는 색채, 구도, 패턴 등을 그만의 방식으로 활용함으로써 이미지 범람의 시대에 절제되면서도 오히려 디지털로 강화된 회화적 인상과 이미지를 선사한다. 이와 함께 디지털의 획득으로 가능해진 3차원적 공간 활용은 관객들에게 더욱 폭넓은 조형적 상상력을 제공한다. 이 논문에서는 움직임, 이미지, 공간의 세 가지 범주에서 미셀 오슬로의 디지털 실루엣 애니메이션인 <밤의 이야기 Tales of the Night>(2011)의 진화된 미학적 특성들을 기존 전통적 기법의 실루엣 애니메이션과의 비교를 통해 분석 하였다. 이를 통해 <밤의 이야기>가 기존 실루엣 애니메이션 특유의 환영적 특징들을 새롭게 환기시키는 동시에, 여러 가지 제약으로 침체되었던 실루엣 애니메이션 제작에 디지털 접목을 통한 새로운 활기와 가능성을 모색하게 하였음을 발견하였다. 점점 더 획일화되어가는 디지털 애니메이션의 현 시점에서 이와 같은 디지털을 접목한 실루엣 애니메이션은 기존 아날로그 방식 특유의 정적 매력을 그대로 유지하면서도 디지털로 새로운 조형적 상상력을 극대화시킨다는 점, 그리고 이러한 부분들이 향후 디지털 애니메이션의 다양성 획득과 발전적 진화에 큰 보탬이 될 수 있다는 점에 있어서 충분한 연구 가치와 그 가능성을 지니고 있다고 볼 수 있다. 뿐만 아니라, 이를 통해 미셀 오슬로의 새로운 실험과 작품경향에 대해서도 살펴볼 수 있는 기회를 마련하고자 한다.

• 한국의류학회지
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• 제21권8호
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• pp.1353-1364
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• 1997

The purpose of this study is to present a theoretical framework for analysis and interpretation of medieval look in fashion by investigating its aesthetic values. Accordingly, it would provide a better understanding of the medieval culture with its composite aspects. Modernism sought to make the Middle Ages in its own image.'New Medievalism' has on the whole tried to avoid reading the Middle Ages onto the modern world. Instead it designates a predisposition about the discipline of medieval studies broadly conceived. Consequently, it has changed the viewpoint of medieval culture from the one-sided angle into the diversified one. As recent studies based on New Medievalism have argued, a close look at the medieval culture revealed the dualistic nature of it, with contradictory aspects such as piety and secularity, ideality and formality coexisting. The characteristics of the medieval culture are categorized to asceticism, naturalism, mysticism and secularism. Asceticism, which is responsible for the melancholic and heavy atmosphere of the medieval culture, is related to christianity and despair of life. It is expressed in medieval dress in forms of body-concealing semi-fitted silhouette, coarse texture and dark color. As a reaction to the extreme splendor and exposure of recent fashion, the ascetic medieval look is attracting attention. The monastic look is characterized by body-concealing silhouettes and minimalized usage of colors and details. Naturalism is the feature seeking for purity of the nature and the human itself. It appears in terms of line as a smooth curve flowing along the body contours, or as a revival style of the Greco-Roman drapery in the medieval dress. Naturalism in the medieval look of the late 20th century fashion is expressed as a pure image with the use of sheer and soft fabric to form a smooth curve flowing along the body contours. Mysticism symbolizes the authority of the Christ and the glory of heaven. It is presented in the medieval dress of the body-concealing straight silhouette made of gorgeous fabrics, brilliant colors and decorations by gems and gold. The insecurity caused by the fin-de-siecle mood is creating a strong interest in religion and it is reflected in fashion as a medieval look reviving the solemn and magnificent style of the medieval dress. Secularism is a reflection of the medieval mind of indulging in the beauty of the mundane world. Heraldry and excessive decorations of the medieval dress are forms of this secularism. These styles of gorgeousness are being refined into a new medieval look of the 1990's. The medieval look of the modern fashion is featured in various styles, reflecting the pluralism of the postmodern society.

• 대한가정학회지
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• 제45권9호
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• pp.15-26
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• 2007

Immigrant workers in Korea who have a multi-cultural background are increasing a need is arising to support them with housing that considers their housing culture. The purpose of this study is to gather information to formulate a plan of ChoSun-Tribe Immigrant Workers in Korea. For this purpose, we investigated to the usage of domestic space and the seating style of ChoSun-Tribe members in China and Korea. Ethnographic research with a questionnaire was used to analyze 16 households in China and 17 in Korea. The study results were as follows. 1. Most of the ChoSun-Tribe members in China and Korea thought that the kitchen had to be separated from other areas and also they wanted to have a large kitchen in which they can work comfortably. 2. ChoSun-Tribe members in China used a bathroom as a laundry normally while and ChoSun-Tribe members in China and Korea didn't think that a bathtub was indispensable in the bathroom. 3. The most uncomfortable feature for ChoSun-Tribe members in Korea was having to use a toilet outside so a toilet should be considered inside of the house. 4. ChoSun-Tribe members in China and Korea were accustomed to sitting on the floor for their living usually and ChoSun-Tribe members in China used the living room as a multi-purpose room for the family. 5. A modified Ondol system using water pipes under the floor was gaining popularity in China and was the most desirable heating system for ChoSun-Tribe members in China and Korea also. 6. ChoSun-Tribe members in China and Korea all took off their shoes inside of the house for hygienic reasons so the space for taking on-off shoes was indispensable. 7. Housing for ChoSun-Tribe immigrant workers in Korea needs to be planned with a good environment lots of sunshine and better ventilation.

• 고전문학과교육
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• 제37호
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• pp.111-149
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• 2018

이 연구는 <하생기우전>의 서사구조를 갈등양상을 중심으로 이해하고, 이를 작가의 삶이나 사유방식과 대응시켜 그 관련성을 규명하기 위해 마련되었다. 구성의 앞부분 갈등 양상은 기존 견해와 다른 방향에서 이해가 가능하다. 입신공명과 애정추구라는 두 가지 다른 지향의 이면에는 주인공의 자기실현 방식이 일관된 문제의식으로 자리하고 있다. 표면적으로는 사회 문제로 부터 남녀애정으로 전환되고 있지만 자아의 내면적 지향이 갈등의 동기가 되고, 동시에 그것이 갈등을 극복하는 요인이 되는 방식으로 의미구조가 설정되어 있다. 혼인 허용 여부를 둘러싼 갈등의 이면에는 부모가 누린 삶의 방식에 대한 여인의 저항과 반대가 그 중심을 이룬다. 의미를 확장하면 부모의 개심(改心)은 곧 왜곡되고 편향된 사회의 변화를 상정한다고 할 수 있다. 나아가 그 사회의 변화는 도덕적이고 윤리적인 차원에서 개인의 실천 행위를 통해 구현된다는 점을 나타낸다. 이 작품은 주인공의 '완결된 삶'을 보여주기 위한 과정이 전체 구성을 이루고 있다. 그것은 표면적으로 여인과의 혼인을 통하여 달성되는 것으로 되어 있다. 그러나 근본적으로 사대부 지식인의 삶의 방식과 사회 환경이 어떤 방향으로 변해야 하는가 하는 문제를 의미구조의 핵심에 두고 있다. 자아와 세계의 갈등이 내면의 성찰, 도덕적 실천 윤리로 귀결되는 지점에서 해소되는 구조가 이를 반영한다. 의미구조가 이처럼 중의적으로 설정되어있는 것은 이 작품의 뚜렷한 특징이다. 사회 변화로 읽힐 수 있는 여인 부모의 도덕적 윤리적 반성은 결국 훈구세력에 의해 왜곡된 사회 현실이 사림의 이념으로 개선되어 간다는 뜻을 지닌다. 하생과 여인의 혼인, 그 후의 성취로 표현되는 상황은 결국 사림의 실천적 윤리의식이 개인으로부터 사회로 확산해 감으로써 사림 주도의 이상사회를 실현하고자 하는 기재의 의지가 낭만적으로 표현된 것이라 할 수 있다.

• 한국의상디자인학회지
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• 제24권2호
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• pp.97-115
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• 2022

The study aims to explore a new direction for research on buttons by understanding the functions and artistic features of buttons on Western clothing in the 18th and 19th centuries, and to use the findings to develop a textile design. In terms of the research method, the period was set in the 18th and 19th centuries, when decorative features and artistic values of buttons on Western clothing reached theirpeak, while theoretical analysis was made based on literature and previous research papers on Western clothing, websites of the Metropolitan Museum and French Museum of Decorative Arts and other website materials, as well as special exhibition materials of the National Museum of Modern and Contemporary Art. Textile designs were developed using computer programs, including Clip Studio Paint and Adobe Photoshop, by integrating the reinterpreted motif of buttons in the 18th and 19th centuries and the styles that prevailed at that time. The results are as follows. First, buttons on Western clothing had the following three functions: a practical function, a symbolic function representing the wearer's status, and a decorative function expressing individuality and beauty. Second, buttons in the 18th century were works of art made with various handicraft techniques and were an important medium that expressed the wearer's fashion sense. In addition, buttons in the 19th century were mass-produced as a result of industrialization and took a major step forward with the development of materials and dyeing. Buttons reflected themes of poetry, drama, biblical stories, music and art, lifestyle,, along with the political and social atmosphere that rapidly changed after the revolution and fashion trends. Third, the artistic features and shapes of buttons were reinterpreted to create a design motif, and the design was developed reflecting the characteristic elements of the rococo style of the 18th century and the art nouveau style of the 19th century that can conform to modern fashion, thereby rediscovering the artistic meaning and value implied in buttons. In the future, the research on creative buttons of 20th century artists is expected to be conducted from various perspectives.

• 한국엔터테인먼트산업학회논문지
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• 제15권3호
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• pp.65-73
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• 2021

본 연구는 영화 <5일의 마중>의 줄거리와 결말 설정에서의 구체적인 표현을 분석하며, 정치적 환경에 직면하여 감독의 문화적 화합의 비극적인 서사 전략을 분석하여 현대 중국 비극 영화의 비극 특성을 살펴보도록 한다. 이를 통하여 중국 전통 윤리 사상을 중심으로 하는 중국식 비극 특성을 소개하는데 목적이 있다. 영화 <5일의 마중>은 문화대혁명 배경으로 한 현대 비극 영화이다. 영화에서는 남자 주인공이 시대에 대한 타협과 사랑에 대한 남다른 수호를 통하여 중국식 비극 특성을 표현하였다. 이 영화는 현대 중국 비극 영화의 대표작이다. 영화의 줄거리는 숙명론, 낙천지명(樂天知命) 등 중국 전통 윤리사상을 묘사하며, 또한 남자 주인공의 사상 변화 묘사를 통하여 중국의 전통 윤리 사상 중의 고유한 비극 특성을 해석하였다. 결말 설정 측면에서는 영화가 중국의 전통적인 비극 중의 해피엔딩의 패턴을 돌파하며, 끝까지 슬퍼하는 열린 결말을 선택하여 현대 중국 비극 영화의 시대적 특징을 더욱 살렸다. <5일의 마중>은 비극 영화로 하여 독특한 완곡함과 온정이 드러났다. 이는 중국 강권 정치 문화와의 타협 때문만이 아니라 중국식 비극의 미학에 대한 감독의 이해와 관련이 된다. 동양의 감정 표현 구조와전통 유가의 윤리적 표현에서 비롯된 이러한 이성은 영화의 서사 구조에서 지대한 장력을 형성하였다. 영화 언어의 상징 기호를 사용함으로써 비극적 미적 감각에 영화 서사의 함축적 특징을 형성하였는데, 이러한 함축성 또한 현대 중국 비극 영화만 고유한 것이다. 또한 장이머우 감독은 이 영화를 통해 자신의 비극적 의식을 표현하고, 문화적 화해를 통해 비극적 서사 전략을 구사하며 정치적 탄압 속에서 예술적 돌파를 추구하는 자신의 창작 지혜를 보여주었다.

• 복식
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• 제62권5호
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• pp.125-137
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• 2012

This study examines the stage costumes of the creative musical 'Hyecho', which was performed six times in the Chung Ang Art Center hosted by Chung-Ang University's performance & media agency from December 20 to 22 in 2006. The stage costumes were made based on these basic design elements of stage costumes that were dyed : line, silhouette, material, and color. First, the creative musical 'Hyecho' presents a new form of fusion theatre, which blends Korean traditional music and dance with videos. Thereby, the musical has opened a new phase in Korea's creative performing arts. Second, in musical performances that combines dance and songs, stage costumes should be made not only to attract the audience's eyes, but also not to interrupt actors' vocalizations and movements by taking their physical features into account. Also, costumes should be made in consideration of their relationships with visual elements, including stage settings and lighting. Third, the musical features fusion-style stage costumes, which combines Hanbok, the Korean traditional costume, and Indian traditional costumes with modern costumes. For the line and silhouette, costumes show the beauty of curves through the curves of Hanbok and India's traditional costumes and also through irregular pleats of pants. Also, by using cotton materials, which is easy to dye and not readily deformed, costumes feature colors that are found in nature through a gradation dyeing technique. In doing so, it offers visual amusement to the audience by making stage costumes look like a beautiful painting. Fourth, the stage costumes of the chorus feature costumes that use lining and pleated skirts using belts, and various accessories, including necklaces that use strings in order to express evil spirits. Since there is not much time to change costumes during a performance, using such items are helpful to show the unique characteristics of actors effectively during the limited time. Also, coordinating with the lighting director allows the costume designer to make better costumes for the chorus and make the performance more dramatic. Finally, it was not necessary to wash the costumes of the chorus of the fusion musical Hyecho 2006 since it was performed only six times. However, when using dyed costumes for the long-term performance, it might cause problems such as bleaching that result from the washing of costumes and low durability that can result in the deformation of costumes. As performing arts are made in various forms and are diversified, it is needed for stage costumes to change accordingly through new attempts and various ways of expression.

• 복식문화연구
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• 제4권2호
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• pp.113-124
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• 1996

This research was designed to find out what is a distictive feature of the design elements of Korean women's costume and its influence by analizing the trend of Korean women's constume during the period of 1890 and 1995. The research was analized by a total of 854 random samples of clothing styles collected from materials in the museums and from articles of three leading newspapers and one of the best women's magazines in Korea. The changing trend of Korean women's costume was found out to be as follows: 1. In around 1910s, the trend of Korean women's costume has been changed into two-tier structure of both Korean and Western styles, and the typical and traditional Korean women's street wears such as 'Chang-ot' and 'Tsdechima' have been gradually diminished. 2. From 1920s, length of the Korean skirt, which was unnecessarily long and inconvenient, has been getting shorter for the convenience of walking. In addition, Korean women's underwear has become simplified, and sports wear could be seen for the first time in Korea. 3. During 1960s, the Western clothing styles have been increased rather than Korean styles as the street wear of the Korean women. 4. In 1970s, blue jeans, mini-skirts and casual wears have become a trend or fashion for women in Korea. 5. In 1980s, a fashion of unisex mode has arrived in this country, and from the year of 1987, wearing of panties among the Korean women has been increased rather than skirts wearing for the street wear. 6. During 1990s, various forma of complex styles came into being in such styles as so-called 'orange class style,' 'protruding navel T-shirts' and 'runner wear speedy.' From mid-1990s, Korean women have turned out to prefer the cute and light costumes by placing emphasis on the image of intellectual, professional and functional wears. The changing special feature of the Korean women's clothing designs could be distinctively observed during 1960s as the modernization policies in Korea have been processed during the period. The clothing trend before 1960 was to change and to solve problems of inconvenient and impractical wears, but the trend after 1960 was seen as a change to confirm a trend of the world fashion. From mid-1990s, however, preference of Korean women's self-conceited conception socially and an unquestionable changing pattern of Korean women's life.