이 연구의 목적은 중세와 르네상스 시기에 제작된 지도에 표시된 오빌의 지리적 위치와 시대별 위치변화를 조사하는 것이다. 이를 위해 각 시기에 제작된 지도를 조사하여, 이를 시대별 그리고 지역별로 분류하여 분석했다. 분석 결과 중세에는 인더스강 서편의 해안지역, 갠지스강 유역, 홍해연안 지역과 홍해상의 섬으로 표시된 것을 확인했다. 그리고 르네상스 시기에는 히스파니올라, 페루, 향료제도와 소팔라로 대상지가 옮겨 갔다. 또한 다시스는 중세에는 카타이 서편에 그려졌으나, 르네상스 시기에는 오빌과 가까운 장소로 이동했다. 그리고 아메리카 원주민에 대한 신학적 해석과 현지인들로부터 수집한 지식 역시 오빌의 위치를 변화시켰다. 1600년 이후에는 오빌은 성경지도를 제외한 지도에서는 완전히 사라진 것 역시 확인했다.

I had learned from history books that the Renaissance period was referred to a period of light and humancentrism, which succeeded the Medieval ages, a period of God-centrism, also called the dark ages. I questioned why the period of God-centrism had been called the dark ages, and why Luther’s reformation had taken place. Further, if the Renaissance people had been human-centric, whether they had lived without God, or whether they had not needed Jesus. When I had studied a history for God’s glory, He has guided me to a best way spiritually and physically, and most of all let me gain an answer to my academic questions; the following lecture is based on the answer. As a Western history professor, I kept studying about Erasmus and about Renaissance humanism and received a Ph.D. (1995). I also published a book titled, Synthetic Interpretation on the Renaissance Humanism -focusing on Erasmus-like Humanists’ Religious Thoughts (Hye-An, 2011: Korean Version). This article has revised and arranged a paper to lecture at the U. S. Mid-West UBF Staff meeting, in September of 2016.

본고는 18세기 후반부터 나타나기 시작한 신고전주의, 그리고 낭만주의로의 진행에 근거하여 당시에 나타났던 사조들 중 하나인 네오르네상스란 개념이 원래는 건축적, 회화적으로 독일에서 먼저 사용되었으며 이후 이탈리아가 동일한 진행을 따르고 있음을 밝힌다. 나아가 19세기 유럽 예술계에서 다소 무기력한 모습을 보였던 이탈리아의 19세기 대표 화가로 프란체스코 아예즈를 주목하고 이 화가의 작품을 통해 당시 이탈리아의 낭만주의 미술이 고전에 상당히 근거하고 있으나 전유럽 공통의 낭만주의적 경향을 동시에 띄고 있음을 밝히는데 의의를 둔다. 또한 아예즈의 회화가, 니체가 구분한 세 종류의 역사 중에서 가장 건강하고 발전적인 성향인 ‘비판적 역사’의 방향을 따르고 있음에 주목한다

By adopting transactional social commerce functions from mobile apps, individuals can sell products and services directly to friends on their contact list. This drives micro entrepreneurs with fewer than ten employees and less than a €2million annual balance (European Union Law, 2013) to become key drivers for economic growth (Paoloni & Dumay, 2011). In particular, individuals aged 18-34 become inspired by images on social networks for clothing and fashion products. Hence, fashion products are popular business items for micro-entrepreneurs. Despite potential benefits for social commerce, micro-fashion entrepreneurs in many countries are still unaware of apps’ use in social commerce to sell products, and to create and manage social capital for their business. This exploratory research aimed to investigate how micro-fashion entrepreneurs adopt transactional-focused social commerce and utilize social capital embedded in network ties for their marketing and sales, based on innovation diffusion and social capital theory. Research questions included: (1) How do micro-fashion entrepreneurs adopt social commerce? (2) How does social capital in network ties contribute to marketing and sales in social commerce? To answer these research questions, qualitative data from phone interviews with 16 micro-fashion entrepreneurs selling fashion products through WeChat in China were analyzed, adopting a thematic analysis. Data indicated micro-fashion entrepreneurs have positive attitudes, based on their experience and knowledge of WeChat. They adopt social commerce to (1) sell products in a new way, (2) connect with customers, and (3) reduce financial risk, while an innovative channel for entrepreneurship. Also, operating a business through WeChat required less time commitment compared with brick and mortar, and online stores, because accessing services like WeChat have payment systems, share images and messages. Free calls and messages are already available. The interview data demonstrated micro-entrepreneurs have an advantage when adopting social network ties in WeChat and implementing social capital embedded in marketing sales networks. Structural, relational, and cognitive capital contribute to micro-entrepreneurs’ marketing and sales interactively. An individual could access target customers, based on networks already established social media platforms and facilitate entrepreneurs’ adoption of social commerce. Also, since trust, shared goals, and languages exist on these network ties, there exists an increase for entrepreneurs’ accessibility to use social commerce to initiate their business, while decreasing business operating expenses, promoting products, and building relationships with customers. In addition, relational capital built by interactions with each customer brings cognitive capital to promote products and strong network ties.

본 논문은 아메리칸 르네상스 벽화에 드러나는 와스프 계층의 타자화 전략과 그들의 지배 이 데올로기를 이민의 급증이라는 사회적 문맥 내에서 고찰한 연구이다. 1880년대 이민의 급증으로 사회적 위기의식을 느낀 와스프 계층은 와스프 문화를 지키는 과정에서 그들 문화의 범주를 지형 학적으로, 인종적으로, 종교적으로 제한했다. 이 시기 아메리칸 르네상스 벽화들은 와스프 지배층 의 지배 이념과 이상을 포함하고 있으며, 와스프 계층은 이 벽화들을 통해 지배 이데올로기를 강화 하려 했다. 다문화주의로 변화하는 시기 아메리칸 르네상스 벽화들은 와스프 계층의 상반된 두 가 지 전략을 보여주었다. 한편으로는 이주민들을 자신들의 영역에서 분리해서 자신들만의 공적 영 역을 강화시키는 방식과 또 다른 한편으로는 회유와, 설득을 통해 자신들의 영역으로 편입시키는 방식을 보여주었다.

The purpose of this paper is to study on the architecture and extension project for the Church of St. Lorenzo. This study is composed of a through analysis of the extension elements on the church building and extension type for extension project of the Church of St. Lorenzo. The results of study are as follows: 1. The extension project for the Church of St. Lorenzo was basically consisted of the concept of a horizontal extension plan through both the interior and exterior space of the church building. This project was the plan of concept of additional or affixing extension through existing spaces with necessary spaces to make up for the previous simple space and form as well as functional aspect. 2. The unit spaces of the nave, the aisle, the small chapels bilaterally adorning the aisles, the transept and the chapels around transepts, and the sacristies by the extension project for the Church of St. Lorenzo is composed of regulation, balance and harmony as geometric space composition according to simple proportion system on whole and parts as well as parts and parts, through the definite articulation by each space zoning. 3. The most important innovative aspect different to previous churches in the extension project for the Church of St. Lorenzo is the compositive system of each other symmetrical spaces through long centrical axis of central part, applying the module system for horizontal arrangement. In particular, the use of regular module on repetition and proportion of rhythm from architectural composition system was precisely composed with the alter that consists of visual focus to express more accurate perspective.

The purpose of this paper is to study on the spatial characteristics from the “The Holy Trinity” fresco painted by Masaccio in the early Renaissance paintings. The results of this study are as follows. 1. The elevation composition of the “The Holy Trinity” fresco is divided into the upper and lower structure through horizontal axis on horizontal line around vanishing point. The upper structure is composed of vertical axis formed through the disposition of the “Trinity” elements and horizontal axis on horizontal line. The lower structure is composed of the sarcophagus and skeleton in such inside and the altar supported through circular columns of left and right. 2. The section composition of the “The Holy Trinity” fresco is composed of the ceiling structure of cylindrical-shaped vault on upper part around basic square floor plan that is interior space and upper structure. The exterior space and lower structure is placed with sarcophagus in inner part that altar and step is projected as same height and width in the outside direction. 3. The basic floor composition of the “The Holy Trinity” fresco is planned by square shape around structural columns that is placed at corners as symmetry through transverse, longitudinal and diagonal axis. The whole floor composition planned through the altar and step that is in exterior space at front, the apse of round form at rear part and the structure of the middle story concept at interior. 4. The visual aspect of the “The Holy Trinity” fresco is composed of the stable balance in relation with distance and height because the interior and exterior space as well as the upper structure and lower structure is formed by regular proportion system. The elevation angle of visual range was planned to view in detail generally or partially the architectural composition system and element, characters through proper visual distance, center and position.

The purpose of this paper is a study on the dome plan of S. M. del Fiore Church of F. Brunelleschi. The results of study are as follows: 1. The planning of floor, elevation and cross section plan of S. M. del Fiore church is basically planned by each other correlation. In particular, the octangular form of geometrical standard which is formed with altar as the center at the crossing part is important component elements which is decided by not only the dome, but form and size of the drum and floor plan form of the lantern 2. The dome which has been planned by F. Brunelleshi has completed the new dome, preserving gothic thought intended by the church plan after study on architecture of ancient Rome with Pantheon. And the dome which is a main space of church through all aspects of plan, structure, function and construction about the dome is a opportunity in the beginning of Renaissance architecture which is a new epoch and a turning point of architecture on various point of view. 3. The dome which is constructed by F. Brunelleshi has been planned through the innovative solution by the refusal of traditional semicircle form dome, centering use and creation double-shell structure form for the first time in history. And the construction of dome has been solved with the invention of various construction equipments and machineries, the stone rib planned for connection and reinforcement about shells of the octangular form, the support method for reduction the gravity of bricklayers work and the brick work of nock-patterned shape which is masonry construction method of the architecture of ancient Rome.

If we take account of the ‘Architectural Tradition’ which aims a construction of better environment, we can see that this tradition has ended historically toward Utopia. And the concrete concepts of utopia mainly started on the Renaissance periods. The Utopias were described well in the literatures which contained particularly three representative utopian books in Renaissance period. The one was the most famous novel <Utopia, 1516> by Sir Thomas More and the other were <La citta del sole, 1602> by Tommaso Campanella and <The New Atlantis, 1624> by Francis Bacon. These novels expressed ideal commonwealths in which inhabitants exist under perfect conditions, ideally perfect places or state of things. The plans of utopia are complete projects of image, its goal is an political, social and economical improvement according to the eras. Their utopias mostly had characteristics as follows; their shape of islands were almost circle, their shape of cities were rectangularity or circle and attached importance to geometrical compositions, their structure of cities were self-sufficiency in closed spaces and their architectural characteristics were uniformity, simplicity and non-ornament. And these architectural characteristics are urban and architectural traditions in communist countries. Also their utopian novels had not much explanations to daily lives of people like as birth, death, relative, mental conflict or authority, money, art. So their utopian novels were not practical and had inappropriate aspects.

The analysis of an art trend in the principle dimension starts by observing the object of work in the perspective of formative composition and recognizing it as a universal system. It can be said that it is consistent with an interpretation method for a form theory of formal history by Heinrich Wölfflin, a leading form critic in art criticism. Hence, the purpose of this study was to find out what are the formative principles in Renaissance Classicism as a design principle to be applicable to modern fashion by reviewing the formative characteristics of Renaissance Classicism Architecture with which Wölfflin directly dealt. As for the theoretical literature review, I used Wölfflin's theoretical framework and looked at the Renaissance Classicism Architecture that he studied and examined the possibility of utilizing his theory as a layout principle and the characteristics. As for analysis of design cases, I applied the aforementioned architecture layout principle to modern fashion and conducted case study analysis to delve into distinctive layout principles found in fashion. The study showed that the Renaissance Classicism Architectural Style is marked by linearity, planarity, closing and multiple unity: linearity was expressed in the observation form in fixed frontal view and an emphasis on a tangible silhouette homeogenous and definite line structures; planarity was achieved in the form of paralleled layers of frontal view element, planarity style, and identical and proportional repetition of various sizes.; closing signified the pursuit of complete and clear regularity, and architecture developed in a constructive phase through organizational inevitability and absolute invariability.; multiple unity was expressed in self-completedness and independent parallel of discrete forms and harmony of emphasized individual elements in a totality. Applying these layout characteristics of the Renaissance Classicism Architectural style and to see their individual expressive features, I found out that in adopting layout principles of the Renaissance Classicism Architecture to modern fashion, it turned out to be an emphasis of individual silhouettes, a flattened space, completed objects, organic harmony among independent parts: the emphasis of individual silhouettes was expressed in individual definitiveness of formative lines of clothes in accordance with body joints and an emphasis on formative lines of clothes; the flattened space was marked by single layer structure, planarity of elements of clothes, and listing arrangement by appropriate proportion.; the completedness of the objects was expressed by the stationary state where overall image is fixed, the construction of homogeneous and complete space, and absolute inevitability of internal layout in proportion; lastly, organic harmony of independent parts was stressed in independent completedness of each detail, and organic harmony of the whole. The expressive features would lead to a unique expression style of linear emphasis, proportion, constructive forms, and two-dimensional arrangement. The meaning of this study is follows: The characteristics of art school of thought are given shape by appling & analysing the architectural layout principles of historical art school of thought to modern fashion in the view point of formal construction dimension. The applied possibility of historical art school of thought as the source of inspiration about the fashion design is extended.

ThePurposeofthispaperisastudy on thecharacteristicsofCampidogliohillplan byMichelangelo. 1.TheplanoftheCampidogliohilliscomposedoftheharmonizedandunitedspace, in spiteoftheexisting conditionsofa steep flightofland,a irregularsiteshape,a building ofeach otherdifferentdimension and form.Anditisnewly changedby site left through the modification of existing building elevation,utilization of existing buildingfornew planning,connectionwithexistingbuildingandnewlyplannedbuilding from plazacompositionoftrapezoidform. 2.Theconceptofplanning oftheCampidogliohillisplanned by compromising for requirements of Baroque after Renaissance which urban planning characteristics of Baroqueisastherelationwithurbanstreetthroughainclinedstairsandprocesssuch asstreet-approachstairs-plaza-symbolofinsideplaza-building. 3.The section plan ofthe Campidoglio hillis planned by which can be easily approached to theplazathrough theinclined stairsofgentleanglefrom streetatthe centereast-westdirection ofmain axis such asmain axis,utilizing theexisting site shape,anditiscomposed oftheconvex shapeascending gently atthecentercentral partoftheplaza. 4.The plan ofthe Campidoglio hillis composed ofthe elation with the axis of existing Senatorio palace,building planning ofperfectbalance,plaza composition of reversedtrapezoidform bybuildingplanning,centralconcentratedplanningofbuildings surroundingplaza. 5.ThethreepalaceoftheplanoftheCampidogliohilliscomposedoftheconceptas theaterwhichthestagebackgroundformsthefrontelevationofSenatoriopalacehigher two palace and the wings of either side of stage form the front elevation of Conservatoripalaceand Nuovopalace,surrounding threepalaceelevation around plaza oftrapezoidform.

The purpose of this paper is the study on the architectural characteristics revived from the roman architecture, focused on the early renaissance architecture building. The results of study are as follow: 1. The composition system of Domus which is formed of urban house in the Roman period is presented by spatial arrangement of palace architecture centering around atrium in the Renaissance period. Thus plan type of Domus is used by atrium form which is composed of peristyle from the palace and villa in the Renaissance period. 2. The circular temple in the Roman period is composed of element such as podium, stair, peristyle centering around the basic circular plan. Bramante planed to revive above elements for the Tempietto to concept from the circular temple in the Roman period. 3. The triumphal arch in the Roman period is strong monument to the independent building in the city, but thus arch is used of church facade as the important example which is composed with building elevation in the Renaissance period. 4. The composition system and element of Roman temple which is planned to rectangular plan is composed of high podium, stair, portico, prostyle and pediment. The facade plan of church is used by the partial elements and total elements perfectly from the temple in the Roman period. 5. The linearly successive and repetitive composition which is composition system and element of aqueduct arches of same dimension shows to the palace facade, arcade for gallery space and side elevation plan of S.Francesco church. 6. Such as background of Colloseum, Rucellai palace can be called good example which is created by the new architectural form to the creative starting point from the classical architecture from.

Today, the people wish to enjoy a pleasant and safe life and high quality of urban environments in their neighborhood. Now is the time when we must give up government-oriented urban- planning(Top-Down) and adopt new city plans(Bottom-Up) of which the focus is placed on building an environment friendly city and based on citizens' participation. The purpose of this case studies are examine the characteristics and process of urban renaissance and regional renaissance in japan. The results of research are as follows: 1) The city recreation board of japan are urban renaissance agency and regional renaissance agency. 2) The renaissance thema is 8 types: regional special products and tour oriented and academic oriented, eco-life practice oriented, experience and community oriented, industrial and job-creation oriented, urban-scene(view) and art-creation oriented and holistic renaissance oriented types. 3) The key aspects are citizens' participation and academic-industrial cooperation of urban renaissance and regional renaissance in Japan.

If we define improvisation in the Middle Ages as "not noted playing method," we will find clearly their root first in neumas. The decoration neumas Quilisma, Oriscus, Pressus, Salicus, Strophicus and Caphalicus shows different ornaments, which are not to be found no more in the later age. This phenomenon shows a possibility that the not noted playing method in music history was attended. In the case of the Fauxbourdons the are highest voice, which is the Cantus Firmus, and the lowest voice, which runs exactly sixth or octave down, are noted, but the middle voice, which shows a fourth parallel, does not note, but of player supplements. As many think, this middle voice does not stand for 1:1 to the other voices, but those show surprisingly substantial ornaments. The highest development of ``not noted playing method`` is the art of the Diminutio in later Renaissance. The Diminutio means to divide the long note into smaller ornamented notes. It is mentioned in a document first in the year 1552 by Adrian Petit Coclico`s ``Compendium musices`` erw ae, afterwards Hermann Finck`s Practica Musica, Lodovico Zacconi`s Prattica di musica, Giulio Caccini`s Le Nuove Musiche, Giovanni Bassano`s "Motetti, Madrigali et Canzoni francese," Michael Praetorius`s Syntagma musicum III, as the latter in the year 1643 Christoph Bernhard`s Musica Practica. That is approx 100 years continuing ``not noted playing method`` in music history. The improvisation in Middle age and Renaissance begins in decoration neumas in monophonic music, developed than ornament art in Fauxbourdon, than highest development continues to show it in Diminutio.

The stage is ceremonial and legendary space unlike the ordinary world. Performance is not simply scrip-staged, but spatial art based on tempo that transmits extreme condition. The stage art is a visual art combined with stage settings, lighting, customs and the like. I exemplify the stage of Middle Age and Renaissance in the history of the art of public performance and so I review that what meditative functions each stage perform and that as what pattern of media it can be conceptualized. In this thesis, I divide the places of public performance Into the spaces of proscenium and polygon and also set up the concepts of hot and cool that McLuhan presents for each space. So, the degree of participation could be different according to the distinction of quantity of information, which is communication following the patterns of spaces. The basis of public performance might be the communication between co-actors and audiences. Since the sense of the art of public performance is the art in the process of establishing the meaning based on the communication with co-actors, it is not a confirmed and fixed one, but rather a reflexive one that can be created and changed continuously. Therefore, audiences should be regarded as the subjects, who are making the art of public performance with co-actors.

점토광물은 자연 산출되는 광물로써 양이 풍부하고 가격이 저렴하여 여러 가지 산업자원으로써 오래전부터 다양하게 활용되어 왔다. 전통적인 주요 활용분야로는 제지 및 코팅산업의 충진제, 내화재, 세라믹, 유리섬유, 시멘트 등에 90% 이상이 사용되어왔다. 최근에야 고무, 플라스틱 및 페인트의 물성 강화용 충진제로, 넓은 표면적을 활용한 촉매제로 일부 사용되고 있지만 대부분 판상용 점토광물을 대상으로 하고 있다. 고령토가 국내 생산 주요 품목에 들어가지만 그 비중은 2014년 기준 1.9%로 낮으며, 그나마 자급율도 77% 수준이라 수입에 의존하고 있다. 생산되는 고령토의 양이 매년 감소하고 있는 추세이며, 2014년 기준 고품질인 Wa와 Wb의 생산량이 각각 600 톤과 227 톤으로 미미한 수준이며 P급이 4.1만 톤 수준이라 부가가치가 매우 낮은 상품 중의 하나로 보인다. 다행히 우리나라에서 생산되는 고령토의 많은 부분이 할로이사이트 계열 고령토이고, 할로이사이트의 독특한 나노튜브 형태는 신소재 개발과 더불어 부가가치가 높은 새로운 활용분야를 개척하기 아주 적절한 광물이어서 그 특성과 산업적 활용 특성을 중심으로 최신 연구동향과 활용분야를 소개하고자 한다.