초등학교 컴퓨터 교육 운영 분석과 개선방안

김은화 조선대학교 교육대학원 2005 국내석사

e-러닝 콘텐츠의 유형이 교수실재감 및 학업성취도에 미치는 효과

김진하 東新大學校 2019 국내석사

국문초록 e-러닝 콘텐츠의 유형이 교수실재감 및 학업성취도에 미치는 효과 오늘날의 교육에서 e-러닝은 중요한 교육 수단중 하나가 되었으며, e-러닝 콘텐츠도 인터넷과 전자매체의 발달과 함께 꾸준히 성장해왔다. e-러닝은 시공간을 초월하여 학습자가 원하는 시간과 원하는 장소에서 학습할 수 있다는 장점을 지닌다. 그 학습의 과정에서 e-러닝 콘텐츠는 학습자와 학습결과에 직접적인 영향을 미친다. 즉 e-러닝 학습에서 학습자의 학습효과를 높일 수 있는 가장 중요한 요소는 콘텐츠이다. 따라서 e-러닝 콘텐츠는 멀티미디어를 활용하여 풍부한 자료를 제공할 수 있어야 하고, 교수자의 부재로 인한 단점을 보완할 수 있어야 한다. 교수실재감은 e-러닝 환경에서 학습자와 교수자간의 상호작용이 일어나면서 실제로 존재하는 것을 인식하는 상황을 의미한다. 교수실재감은 학습효과를 높이는 인지적 실재감을 높일 수 있는 중요한 요인이며, 교수실재감 자체만으로 학습효과를 높이는 효과를 유도할 수 있다. 따라서 교육용 콘텐츠를 비롯한 많은 e-러닝 콘텐츠들은 경험에서의 현존감, 즉 실재감을 향상시키고자 하는 노력이 필요하다. 이에 본 연구는 e-러닝 콘텐츠의 유형이 학업성취도와 교수실재감에 어떠한 영향을 미치는지 살펴보았다. 콘텐츠는 보편적으로 실제 학습자에게 많이 쓰이는 콘텐츠의 유형을 고려하여 학습내용 제시형태와 설명방식으로 구분하여 제작하였다. 학습내용 제시형태는 그림중심유형과 텍스트중심유형으로 구분하였는데, 그림중심유형은 사진, 그림, 그래프 등의 시각적인 자료를 기초로 교안을 제작하였으며, 텍스중심유형은 문자정보에만 초첨을 두어 교안을 제작하였다. 다시 이렇게 제작된 교안을 두 가지 설명방식으로 구성하였는데 음성형과 음성+영상형으로 제작하였다. 음성형은 학습내용 제시형태 즉, 교안을 중심으로 교수자의 나레이션과 함께 구성하여 제작하였으며, 음성+영상형은 촬영된 교수자를 중심으로 학습내용 제시형태의 교안자료와 함께 구성하여 제작하였다. 본 연구의 결과는 다음과 같다. 첫째, 그림중심유형이 텍스트중심유형보다 교수실재감이 높게 나타났다. e-러닝 콘텐츠의 학습내용 제시형태에 따른 교수실재감은 유의미한 것으로 나타났다. 둘째, e-러닝 콘텐츠의 학습내용 제시형태에 따른 학업성취도는 유의미하게 나타나지 않았다. 셋째, e-러닝 콘텐츠의 설명방식에 따른 교수실재감은 유의미하게 나타나지 않았다. 넷째, 음성형 설명방식이 음성+영상형 설명방식보다 높게 나타났으며 e-러닝 콘텐츠의 설명방식에 따른 학업성취도는 유의미하게 나타났다. 다섯째, e-러닝 콘텐츠의 학습내용 제시형태와 설명방식 간 교수실재감의 상호작용은 유의미하게 나타났다. 여섯째, e-러닝 콘텐츠의 학습내용 제시형태와 설명방식 간 학업성취도의 상호작용은 유의미하게 나타났다. 본 연구 결과는 보다 효과적인 e-러닝 콘텐츠의 설계․개발에 시사점을 줄 수 있으리라 본다. 하지만 학습동기, 학습환경 등 내․외재적 요인을 복합적으로 고려하는 후속연구가 필요하다고 본다.

쇼팽 연습곡 Op.10 연구 : no.12 '혁명'을 중심으로

나세영 성신여자대학교 2009 국내석사

쇼팽은 피아노 음악에 대한 정열을 쏟았고 즉흥연주에 뛰어난 솜씨를 보였으며 특히 새로운 피아노 양식을 확립하였을 뿐만 아니라 성악적이며 시적인 음악성과 높은 기교로써 자신의 음악을 창조하였다. 무엇보다도 쇼팽은 새로운 서정성으로 낭만주의 어법을 확장했으며 피아노 음악사에서 독자적인 위치를 차지한다. 쇼팽의 연습곡은 개성적인 새로운 내용을 보여주고 있으며 그의 작품이 가지는 독특한 음형과 대범한 화성법 그리고 음악적 감성표현이 특징적으로 나타나고 있다. 쇼팽 연습곡은 27곡으로 각각 12곡으로 구성된 <op. 10>과 <op. 25>, 그리고 또 다른 3곡을 포함한다. 연습곡이란 보통 연주 테크닉을 위한곡이지만 쇼팽의 연습곡은 작곡가의 인간적인, 내면의 세계를 표출시키고 있으며 음악적 감성표현과 높은 수준의 테크닉의 조화로 최초의 중요한 연주회용 연습곡으로 인정받는다. 본 논문의 제 1장에서는 쇼팽의 연습곡 <op. 10>을 작곡년도에 따른 순서로 정리하였으며, 음악적 특성을 조성과 형식, 빠르기, 연주시간으로 나누어 정리하였다. 또한 기교적 특징에 따라 분류하였는데, 기교적 특징에 따른 분류는 기교가 중복되는 경우가 있음을 전제로 한다. 예를 들어 no. 12 <혁명>의 경우는 왼손의 반음계가 주된 기교이지만 오른손 옥타브 진행 또한 중요시 된다. 제 2장에서는 특히 연습곡 <op. 10>의 대표작이라 할 수 있는 op. 10, no. 12 <혁명>에 대한 왼손 연주에 기교적 어려움을 해결하는 다양한 연습방법을 코르토가 제안한 방법들을 통해 정리하였다. 또한 자필 악보에 기재되어 있지 않는 페달 사용에 대하여 고찰하였다. Frédéric François Chopin(1810-1849) put his heart into the piano music; showed outstanding skill in improvisation; especially established new style of piano; and created his own music with vocal-like poetic musical characteristics and high level of techniques. Most of all, Chopin extended the expression of romanticism with new lyricism and have original status in the piano music history. Chopin Etudes present new remarkable contents and feature his own unique figure, liberal harmony and emotional expression of music. The etudes by Frederic Chopin are three sets of solo studies for the piano; there are 27 overall, comprising two separate collections of twelve, numbered <op. 10> and <op. 25>, and a set of three without opus number. The etudes, in general, are for performing technique but the etudes by Chopin express the human inward world of the composer and are accepted as the first important etudes for concert with the combination of musical sensitive expression and high level of technique. This study arranged the Etudes <op. 10> by Chopin in order of composed year. In the first chapter and arranged musical features by the tonality, form, tempo and playing time. It is also categorized by technical features, and it is premised that category by the technical feature has the cases of overlapped techniques. For example, no.12 [Revolutionary]’s main technique is the chromatic scale of left hand but the octave progression of right hand is also emphasized. In the second chapter, I arranged various practice methods to solve out technical difficulty of left hand performance for op.10, no.2 <Revolutionary> which is the representative work of etude <op. 10> based on the methods suggested by Cortot. In addition, the use of pedal is considered which is not marked on the handwritten score.

3~5세기 김해지역 철기부장 양상 연구

김민범 경북대학교 대학원 2016 국내석사

The main purpose of this study is to understand the role of exist individuals and groups in Gimhae area during 3-5 century. In order to achieve this purpose we paid attention over the character of the finds made of iron and try to guess Social character of community by analysis of these iron finds buried in graves. The frequency of the burial aspects is performed by three ways of analyses of the iron finds. Firstly, each iron finds Model of burial frequency. Second, each combination of iron finds of Models combination frequencies. Third, models which separates the number of each combination. As a result Each Models of ironware is divided into universal Models and rare Models. accordingly, the combination of typical models was confirmed this combinations as increasing as number of combinations. As a result we can determine that the Models that appear in certain combinations to show limits of owned. and on the other side by Layer-specific, function we can see that the number of existing combinations is correlated with the social class hierarchy. Based on the analysis of the previous, A ~ F were set to six type in consideration of the function with the ironware. Finally, Based on the previous chapter type settings the characteristics of the group and its members in Gimhae region. The First I looked at the type of configuration transition process in each group in Gimhae reigion 3-5 century. As a result, Each group in Gimhae region of types configuration has been observed to increase and decrease by the change in time Ⅲ phase there appeared all the types configuration and That type of configuration differences of each group forms a certain hierarchical structure is considered. Second in oder to Infer the social role and characteristics of each group, it was considered in connection with village, fortress, production facility and living remains. Another result is that Type of burial person  that make up the group are also confirmed to be configured for that role by the Social roles that each group is in charge of. This ironweres are simply beyond the concept of tomb-ceremonial goods, it can be understood as representing the identity of burial person  and groups in the society and it is appeared that ironweres of pattern to emerge Character which represent Relative sequence and hierarchy as well, it can know that the function and role of burial person appear in a society. 본 연구의 목적은 3~5세기 김해지역에 존재하는 개인과 집단들의 사회적 성격과 역할에 대해서 이해하고 추론하는데 있다. 이 목적을 달성하기 위해서 철기의 도구적 성격에 주목하였다. 분묘에 부장된 철기의 부장양상을 분석하여 지역 내 개인과 집단의 사회적 성격과 역할을 추론해 보고자 하였다. 철기의 부장양상의 검토는 통계학적 방법을 사용하여 ➀ 철기 기종별 부장빈도 ➁ 철기의 조합 수 별 기종조합 빈도 ➂ 각 조합수를 구분시키는 기종 등 세 가지 방법으로 빈도분석을 진행하였다. 그 결과 보편적인 기종과 희소성이 높은 기종이 구분됨에 따라 조합 수에 따라서 전형적으로 조합되는 기종이 확인되고 조합 수가 증가에 의해 특정한 조합 수에서만 부장되는 기종이 확인되었다 특정 조합 수에서만 부장되는 기종들은 계층별, 직능별로 소유의 제한을 나타내는 것으로 이해된다. 이것은 기종의 조합의 수가 사회적 계층의 위계질서와 상관관계를 가지고 있음을 보여준다. 위의 분석을 바탕으로 철기가 가지고 있는 기능을 고려하여 A~F 총 6개의 유형을 설정하였다. 마지막으로 앞에서 설정한 사회적 성격과 유형을 바탕으로 하여 김해지역 내 각 집단과 구성원의 특징에 대해서 검토하였다. 먼저 3~5세기 지역 내 각 집단의 유형구성 변화양상에 대해서 살펴보았다. 그 결과 시기별로 각각의 유형이 증가와 소멸의 변화양상이 관찰되었다. 이 중에서 Ⅲ단계에서 모든 유형구성이 등장하며 집단별 유형구성의 차이는 하위집단들 간에 일정한 위계구조가 형성 되고 있음을 보여준다고 생각된다. 두 번째는 각 집단의 사회적 역할과 성격을 추론하기 위해서 취락, 산성, 생산 시설 등의 생활유적과 연계하여 살펴보았다. 그 결과 각 집단이 맡은 사회적 역할에 따라서 집단을 구성하는 피장자 유형도 구성되는 것이 확인되며 이는 철기가 단순히 분묘부장품의 개념을 넘어서 사회 내에서 피장자와 집단의 정체성을 적극적으로 표현한 것으로 이해할 수 있다. 그리고 철기의 부장유형에서 나타난 성격이 단순히 상대서열과 위계성만 나타내는 것뿐만 아니라 피장자의 사회 내 직능과 역할도 나타내는 것임을 알 수 있다.

Johannes Brahms의 Klavierstücke Op.119에 관한 분석연구 : Johannes Brahms의 Klavierstücke Op.119에 관한 분석연구

정지혜 성신여자대학교 대학원 2009 국내석사

전 생애에 걸쳐 피아노작품을 쓴 브람스(Johannes Brahms, 1833-1897)는 고전주의 양식을 토대로 낭만적 정서를 표현한 후기 낭만시대의 대표적인 독일 작곡가이다. 브람스는 낭만주의시대 다른 작곡가에 비해 절대음악에 힘을 다했으며, 고전주의 시대의 전통적인 형식을 그대로 유지하였다. 낭만주의의 특징인 풍부한 화성과 다양한 리듬을 사용하면서 본질적으로는 고전적인 형식으로 낭만적인 정서를 담아냈다. 브람스 피아노 독주곡은 40여년에 걸쳐 작곡되었는데 첫 작품은 1853년 쓰여진 <소나타 Op.1>이며, <피아노 소곡 Op.119>는 1893년에 쓰여진 마지막 작품이다. 초기에 작곡한 피아노 작품들이 화려한 색채적 효과를 이용해 스케일이 큰 기교를 추구했다면 말기작품인 성격소품들은 개인적인 노래로 꾸밈없이 담백하고 단순하게 쓰여졌으며 어둡고 고독한 내면이 함축적으로 담겨있고 깊은 음악성이 그대로 표현되는 특징을 가진다. <피아노 소곡 Op.119>는 3개의 인터메쪼(Intermezzo)와 1개의 랩소디(Rhapsodie)로 이루어진 곡으로 주제 전개가 간결하고 절제된 표현방식을 사용했으며 브람스 피아노 음악의 특징이 잘 나타난 곡이다. 이 논문에서는 브람스의 생애와 그의 피아노 음악의 특징과 작품을 시기별로 나누어 알아보고 브람스 후기작품 중 하나인 <피아노 소곡 Op.119>를 분석하고 그의 작곡기법과 음악적 특징에 대해 연구하였으며, 연주자의 입장에서 고찰하였다. Johannes Brahms (1833~1897) was one of the leading German composer during the Romantic Period. Throughout his life, he composed numerous piano works which expressed Romantic sentiment based on Classicism. Unlike other composers during the Romantic Period, Brahms focused on composing Absolute Music and maintaining a Classical sense of form and order in his works. His works show characteristics of Romanticism - rich harmony and numerous rhythm. But they were fundamentally in the Classical form and order. Brahms' major piano compositions were created in the span of 40 years. He composed his first work <Piano Sonata No.1 Op.1 in C major> in 1853. And <Klavierstücke Op.119>, one of his last compositions, was composed in 1893. His compositions in the beginning showed magnificent tints with large-scaled skills; however, towards the end of his time, Brahms pursued simple and personal music which implicatively described his lonely mind and rich musicality. <Klavierstücke Op.119> consists of three Intermezzo and one Rhapsodie. This composition develops its theme in a very simple and controlled manner. And it perfectly represents the characteristics of Brahms' piano works. This study will first discuss about the life of Johannes Brahms and the characteristics of his piano works by different periods of his time. It will then discuss especially about <Klavierstücke Op.119>, one of the last piano works of Brahms, in an effort to analyze his composition skills and musical characteristics.

프로젝트 관리기법을 통한 R&D 품질관리 시스템의 제안 : NPD활동의 Best practice 적용을 통한

조영란 아주대학교 2012 국내석사

경상분지 함안층에서 산출되는 흔적화석의 분류

원상호 경북대학교 대학원 2015 국내석사

Diverse trace fossils of freshwater invertebrates were found from the Haman Formation, Gyeongsang Supergroup, Korea. They include footprints of tetrapods, plant root traces and diverse worm trails. One of the characteristic and dominant structures found from the Haman Formation is sine-curved trails with 0.2 – 3mm in width, 0.9 - 7.5mm in amplitude, and 1.5 – 28mm in wavelength. The ratio of amplitude/wavelength is more or less regular, regardless of size of the structures. Some of internal structures in this species are also observed: median lines and point bar type internal structures. Two species of this sine-curved structure are identified on the basis of moving pattern: Cochlichnus anguineus and Cochlichnus sp. This character is typical to the organisms moving wave fashion like nematodes to find nutrients or to escape from th enemy. Three different circular structures (single circle, paried circle, and elongated structure) are also commonly found from the Haman Formation. They are often found on the surface of the same beds, and vertical section of the beds show they originated from same organismal behavior, finally forming u-shaped boring pattern. Two species belong two genus are identified from this structure based on presence of spreite structure: Diplocraterion parrallelum and Arenicolites sp.

나말여초 도기와 자기의 생산체계 전이 연구

최견미 경북대학교 대학원 2016 국내석사

본 연구의 목적은 나말여초기에 이루어진 도기에서 자기로의 생산체계 전이 과정을 추론하는데 있다. 이 목적을 달성하기 위해 도기와 자기의 기종 구성과 제작에 사용되는 성형 기술에 주목하였다. 도기 및 자기의 기종구성 검토는 기능별로 기종을 구분하고 기종 내에서 형태의 차이에 따라 세부기종을 설정하였다. 각 요지에서 출토되는 도기와 자기를 유구와 층위를 나누어 출토되는 기종의 수량을 파악하였다. 또한 기종 내 세부기종의 다양성을 파악하였다. 그 결과 도기 요지에서는 개류 · 완류 · 접시류 · 병류 · 호류 · 옹류 · 취사용기류 등 생활 전반에 사용되는 모든 기종들이 제작되었다. 그러나 요지에 따라서 중점적으로 생산하는 기종구성에는 차이를 확인할 수 있었다. 자기 개시 단계의 요지는 월주요 청자의 영향을 받아 소형 기명인 완 · 대접 · 접시를 중심으로 생산하였으며 이들이 전체 생산품 중 과반수 이상을 차지하고 호와 병류는 소량만 제작되었다. 자기 확산화 단계에서는 남서부 지방의 토축요에서 도기 기종과 유사한 형식인 청자 편병, 청자 편구병, 청자 장경병, 청자 소형 유병, 청자 파상문호 등이 제작되는 것이 확인되었다. 도기 및 자기의 성형 기술 검토는 실견을 통하여 기종별로 성형 공정을 유형화 하였다. 그 결과 도기는 테쌓기를 기본으로 하며 기종별 형태에 따라 네 가지 유형의 성형공정이 사용됨을 알 수 있었다. 자기는 대부분의 기종이 기본적으로 물레로 성형된다. 그러나 도기 기형을 모방한 청자는 도기 성형공정 Ⅲ유형의 기술이 관찰되었다. 마지막으로 앞서 살펴본 도기 및 자기의 기종 구성과 성형 기술의 분석을 통해 나말여초기 생산체계의 전이 과정을 1~4단계로 나눌 수 있었다. Ⅰ · 2단계는 나말여초 도기 양식의 성립과 제작의 전문화 단계로 8세기 중엽부터 10세기 전후에 해당하는 시기다. 편구병, 편병, 덧띠무늬병, 주름무늬병, 종형개 등 나말여초기를 대표하는 기종들이 제작된다. 성형 기술은 전통적인 테쌓기 기법이 사용된다. 시기와 지역에 따라서 생산 기종과 세부적인 성형 기술에서 차이점이 관찰된다. 경주 화곡리 · 보령 진죽리 요지와 같이 다양한 기종을 생산하며 양질의 도기를 만든 요지는 주요 소비 대상지가 왕경의 왕실, 귀족의 저택, 사찰 등으로 추정되어 전업적인 도공에 의해 대규모로 운영되는 조직화된 생산체계가 이루어 진 것으로 보인다. 반면 지방에 위치하며 단기간에 운영된 요지는 기종구성이 단순하고 상대적으로 조질의 자기를 생산한다. 소비지도 요지 인근의 취락을 대상으로 하며 일정한 수요에 의해서만 운영되는 소규모 생산체계였던 것으로 보인다. 3단계는 한반도에 처음으로 자기가 제작되는 단계로 10세기 전엽에서 후엽에 해당하는 시기이다. 모든 자기요에서 동일한 기종과 형태로 다량의 자기가 출토된 것으로 보아 당시 자기 생산체계는 도기 생산체계와 달리 고도로 전업화 · 전문화의 성격을 가지며 대량 생산을 목표로 한 것으로 보인다. 도기는 대형의 저장 · 운반용기만을 제작한다. 3단계의 자기와 도기의 생산체계는 생산 기종과 성형 기술적인 측면에서 살펴본 결과 이분화되었음을 알 수 있다. 4단계는 자기와 도기의 생산체계 상호작용의 시기이다. 10세기 후엽에서 11세기 중엽에 해당하는 시기이다. 월주요 도공에게 기술을 전수받은 도기 도공에 의해 자기가 제작되며 이에 따라 자기 기종에도 변화가 관찰된다. 생산 기종은 여전히 소형기명을 중심으로 하며 완이 다수를 차지한다. 그러나 도기 형태의 기종이 자기로도 제작되는 예가 확인되는데 주로 병류에 한정된다. 이러한 기종의 자기는 도기의 테쌓기 기법으로 성형되었고 동시기 도기 가마의 출토품과 형식에서 동일한 양상을 보이기 때문에 도기 도공이 자기 제작에 참여하였음을 확인할 수 있었다. 도기를 만드는 도공과 자기를 만드는 도공이 구별되지 않고 한 요장안에서 기물을 생산하거나 도기와 자기가 상호 연관선상 아래에서 생산체계가 운영됨을 알 수 있었다. 본 연구는 나말여초기 도기에서 자기로 이행하는 과정을 통시적이고 공시적인 관점에서 살펴보았다. 유적간의 선후관계를 파악하고 이를 바탕으로 각 요지에서 출토되는 도기와 자기의 기종구성과 제작기술을 중점적으로 연구함으로서 이제까지 연구되지 않았던 변화 과정을 살펴볼 수 있었다는 것이 본고의 가장 큰 의의라고 할 수 있다. The purpose of this study is to infer the production system transition from the pottery to the porcelain which happened in Namal-Ryocho. In order to accomplish this purpose, this study focused on the forming technique used for the vessel form composition and the manufacturing of the pottery and porcelain. The review of the vessel form composition of the pottery and porcelain divided the form by functions and set the detailed forms according to the difference of form within the vessel form. The pottery and porcelain excavated from each kiln site were divided into the artificial pit and soil layer to apprehend the amount of the excavated forms. Also, the diversity of the detailed forms within the form was apprehended. As a result, in the pottery kiln site, all forms used for the general life such as the lids, bowls, dishes, bottles, pots, jars, and cooking potteries were manufactured. However, the difference could be confirmed in the vessel form composition which produced in priority according to the kiln site. The kiln site of the porcelain start stage was affected by Yue-zhou-yao(越州窯) celadon and was produced focusing on the tea bowls/ bowls/ dishes which were the small table ware and they accounted for over majority among entire products, and pots and bottles were manufactured in small quantity. In the porcelain diffuse stage, it was confirmed the celadon flask, celadon-a bottle with abacus bead shape, celadon long-necked bottle, celadon small-oil bottle, and celadon wave designed pot were manufactured which were a similar type to the pottery form in the clay-built kiln in the southwestern region. The forming technique review of the pottery and porcelain stereotyped the forming production process following each form through actual observation. As a result, it was confirmed the pottery was based on the coiling and 4 types of forming production processes were used according to the form-shape. Most forms of the porcelain are formed by the wheel throwing method basically. However, the technique of the pottery forming production process III type was observed in the celadon which imitated the pottery shape. Finally, the transition process of the Namal-Ryocho production system could be divided into 1~4 stages through the vessel form composition of the pottery and porcelain examined before and through the analysis of the forming technique. The stage 1 and 2 specializes the establishment and manufacturing of the Namal-Ryocho pottery style, which applies to from the mid-8th century to the 10th century. Forms representing Namla-Ryocho such as the bottle with abacus bead shape, flask, coil added bottle, striped bottle, and bell-shaped lid are manufactured. The traditional coiling technique is used as the forming technique. A difference is observed from the production forms and the detailed forming techniques depending on the time and region. The kiln site which produces various forms such as the pottery kiln sites in Hwagok-ri, Gyeongju and Jinjuk-ri, Boryeong and makes the high-quality pottery seems to have formed a large-scale industry by full-time potters as the main consumption sites were presumed to be the Silla capital's royal palace, aristocracy's residence, and Buddhist temple. On the other hand, the pottery kiln site that is located in the province and operated in a short term has a simple vessel form composition and produces a relatively low-quality pottery. It seems like the consumption site targeted the settlements near the pottery kiln site and was a small-sized workshop industry operated only by the certain demand. The stage 3 applies to from early 10th century to late 10th century when the porcelain was manufactured for the first time in Korean peninsula. Given that various porcelains were excavated in the same form and shape in all porcelain kiln sites, it seems like the porcelain production system at that time had a character of the full time and highly specialized ceramic production systems unlike the pottery production system, and aimed at the production on a large scale. The pottery only manufactures the large storage and transportation container. It was confirmed that the production system of the porcelain and pottery in the stage 3 was divided into two parts from the aspects of the production forms and the forming techniques. The stage 4 is the time of the production system interaction of the porcelain and pottery. This time applies to from the late 10th century to the mid-11th century. The porcelain is manufactured by the pottery potter who learned the skill from Yuezhouyao potter and a change is observed from the porcelain forms accordingly. The production forms are still based on the small table ware and the tea bowl accounts for a large portion. However, the example that the pottery-shaped forms are manufactured as the porcelain is confirmed, it is mainly limited to the bottles. The porcelain of these forms was formed by the coiling technique of the pottery and since it showed a similar aspect in the objects excavated and the formalities of the pottery kiln site of the same period, it was confirmed the pottery potter participated in manufacturing porcelain. It was confirmed the potter who made the potteries and the potter who made the porcelain were not distinguished but produced the products in the same kiln site or the production system was operated under the interaction between the pottery and porcelain. This study examined a process of transferring from the Namal-Ryocho pottery to the porcelain from the diachronic and correlated perspective. It is the most significant meanings of this paper that the change process which had not been studied could be examined by intensively researching the vessel form composition and the forming technique of the pottery and porcelain which were excavated from each kiln site on the basis of the order of remains.

북한강 유역 중도식 주거지 내부 공간 활용의 변천

정지왕 경북대학교 대학원 2018 국내석사

The purpose of this research is to infer from the built environmental context of how the inner space of the jundo style dwelling in Bukhangang River basin was utilized. It also identifies how this is stereotyped and what the background is. To this, the dwelling was divided into fixed feature elements and semifixed feature elements. Analyze of the fixed feature element is change of a dwelling on the dwelling style and the hearth. The plane form changed from Pentagon to hexagon. From Pentagon to Hexagon dwelling, we found that the living space decreased gradually. In addition, the frequency of installing the inner pillar decreased in the hexagon dwelling compared to the Pentagon dwelling. The semifixed feature elements is artifact. Analyzed of the semifixed feature elements is devide of stereotyped of arrangement of artifact. Inner space of dwelling are divided into seven areas and different types depending on the arrangement of artifacts excavated from the wall space. In the Pentagon-hearth dwelling, arrangement of artifact is distributed across the entire surface of a wall area. In the Hexagon-hearth dwelling, arrangement of artifact is concentrated in the back wall area of the dwelling. In the case of a Hexagon-heated floor dwelling, the tendency of the concentrated in the back wall area of the dwelling is followed and space division of pottery and iron tool is arised. Based on this, inner space of dwelling can be divided into kitchen·heating space, storage space, sleeping·inddor activity space. Various types of inner space utilization are identified in the Pentagon-hearth dwelling. Hexagon-hearth dwelling and Hexagon-heated floor dwelling are used to reduce the inner space utilization, and to transform the center of the residential space into a wider range of residential areas. The first factors affecting the change in the use of these inner spaces are the changes of plane form. In addition, the area of residential areas decreased, and the frequency of installing the inner pillar is reduced. Thus, the development of architectural technology has greatly affected the efficiency of the use of inner space. For the artifact excavated inside the inner space, it is possible to observe increasingly enlargement of artifact. This means that the limitations of indoor storage capacity have expanded, allowing the use of more efficient housing. Furthermore, the formation of a large pottery vessel will increase the fixed nature of the artifact and the back wall space will be used to store the space. The change in house form type has affected the use of inner space in the first place, which has resulted in changes in the type of arrangement of artifact. Changes in the production system of the pottery have increased the efficiency of space utilization in interactive with changes in the house form. Also, the spatial differentiation of the functional space of the inner area has been induced.

대구 · 경북지역 청동기시대 무덤과 사회변화

윤형규 경북대학교 대학원 2018 국내석사

The Daegu·Gyeongbuk region is situated in the transitional zone of the major Bronze Age cultural area represented by Songguk-ri and Geomdan-ri against the backdrop of the Taebaek Mountains and the Nakdong River. The data from the tombs are expected to provide some clues to figure out the changes to the hierarchical society of those days, but the regional deviations have allowed them to be discussed from the macroscopic perspective of Yeongnam based on some of their attributes. They have been either included in the fixed system of the cultural area of those days or treated only in the aspect of small area-based features based on the changes of some attributes. This study set out to actively analyze the changing process of the tombs of the Bronze Age and to review the society of those days in size and nature based on common attributes that were extracted from the tombs in the regions where the research has been poor in the field of Bronze Age study. It is apparent that diachrony should be secured before conducting research on the tombs based on spatial backgrounds. The investigator, thus, established a time foundation based on the form changes of red burnished jars, stone daggers, and stone arrowheads that have been reviewed by many researchers among the artifacts of those days. Since no data had been confirmed to the initial period of the Bronze Age, the tombs were divided into the early, middle, and late period. Stage I, II, III and IV fell in the latter part of the early period, the former part of the middle period, the latter part of the middle period, and the late period, respectively, helping to establish grounds to examine changes to the society. The study first examined, in detail, the attributes that could be extracted from the construction process to analyze the tombs in a structural way by stages. After looking into the location, community, and layout forms, on which planning must have been reflected according to environmental factors, the investigator analyzed the attributes (capstones, boundaries of graves, main burial chambers, and excavated artifacts) to be expressed visibly through full-fledged construction. The study then examined how development patterns evolved through the stages based on the elements whose temporality and locality were secured through the changes of the attributes and how the various acceptance and settlement processes of tombs were connected according to the social development of the concerned region. In Stage I, the tombs were located in hilly areas, and many of the tomb communities were independent or small in size. It was not clear whether there was a capstone in the tombs in terms of structure. The grave boundary facilities appeared only in some parts of the Milyang River and the East Coast. For burial facilities, most tombs had the Sang, Seokchuk 1 or 2, or Togwang form assembled into the underground-type single-plate flat capstones with single-plate stone materials used for Sisang. The combination of multiple artifacts of various kinds was prominent among the artifacts buried inside the tombs. The grave boundary facilities were reviewed along with the structure of the main burial chambers used inside. The results show that the tombs had a closer direct connection to the adjacent Gyeongnam region of their background including eastern China, North Korea, and the Honam and Yeongnam regions of South Korea. Given their major grave boundary facilities, the tombs had relations in geographic locations with the tombs in the Yeongseo region and the lower parts of the Nakdong River, but there were some differences inside the burial facilities between them. In addition, the Togwang, Sang, and Seokchuk 2 forms, whose distribution was sporadic, were found in Daegu and Gyeongsan along with the Seokchuk 1 form that was a variation of the three forms of structure. Considering the universal convention of burying multiple bodies together in tombs in the early period, it seems that the tombs developed in a multiple, simultaneous fashion according to selective acceptance by the geographic environment and group. Since there was no clear formation of certain communities, single tombs started to appear in the settlement process of Chulgye groups within the area. In Stage II, the distribution of tombs grew denser according to the rising number of tomes. While the percentage of tombs situated in hilly areas decreased, the tombs located in alluvion areas increased. As the size of the community gradually expanded, middle- or large-sized communities appeared in some areas. As the capstones inside the tombs and grave boundary facilities became universal, the groups of tombs started to spread via various layout relations. As for burial facilities, a ground-based structure emerged, which was not found in the previous stage, along with multiple flat capstones and Honchuk structures. It was similar with Sisang: multiple-plate and Halseok Sisangs were used along with the single-plate ones from the previous stage. As for the artifacts buried inside the tombs, the combination of single artifacts increased instead of the combination of multiple artifacts. Some of the artifacts (red burnished jars and stone daggers) had a fixed location inside a tomb. The universal trend of some artifacts and the fixed location of certain artifacts point to the further universalization of the convention of burying items inside tombs. As new elements were embraced following the emergence of settlers that experienced the Songguk-ri culture in addition to the native-style tomb elements from the previous stage, structural differences between individual tombs started to be reflected through the changes to the layout among tombs and their structural changes. That is, the division of classes within the community became even clearer as tombs were built around the central one with massive souvenirs including capstones and grave boundaries in a well-planned manner. In Stage III, the unit of tomb groups grew much clearer according to the explosive growth of tombs. As the tombs were reorganized in the alluvion areas in terms of location, the required space was separated and arranged from the living space in the expansion and development process, which led to the gradual completion of large communities. Inside the tombs, all the attributes were in coexistence which could be noticed in the tombs. As diversity was secured through individual sizes as well as the layout of the capstones and grave boundary facilities, differentiation grew further among tombs. The burial facilities increased in usage frequency more than in the previous stage with the emergence of a special burial method in the Seokchuk 1 and Togwang forms. One of the characteristics of the excavated artifacts was the clear and gradual increase of external burial in percentage, which seems to be connected with the increase of the construction process linked to the full-blown capstones or grave boundary facilities. All kinds of pottery and stoneware was excavated in fragments around the grave boundary facilities, and they seem to have been related to the ritual behaviors of the groups. A good number of tombs with no clear traces of burial facilities within the grave boundary are estimated to have been built for rituals. The layout and size of the tombs within the community indicate that the ritual facilities of each small group unit were used differently according to the given roles. It seems apparent that there were changes to the social structure according to the layout and expanding and changing patterns of tomb groups based on the various structures of the tombs, but no particular feature was observed in the combination of artifacts buried inside the tombs to reflect the character of the buried best. These findings indicate that each community must have adopted its own approach to display their hierarchical structure. In Stage IV, a group of people, using pottery with round clay stripes, emerged with the local identity maintained. Single or small groups of tombs were built in hilly areas distant from the old living zones of the community. Some of the tombs formally adopted a wooden coffin in the Towang structure with new items buried inside the tombs such as a bronze dagger, pommel fittings of bronze daggers, large clay jars, purse-shaped jars, and mounted dish pottery. In some areas, however, the old-style tombs of the Bronze Age continued, which suggests that a new group based on new civilization emerged, and at least recognized the tradition of the local culture. The changes of tombs in the Gyeongbuk region manifest its locality due to interactive exchanges between the native force and the groups from its neighboring areas. Entering the latter part of the middle period that marked the golden age of social development, in particular, this trend became even clearer. The Songguk-ri culture-based groups and the Geomdan-ri culture-based groups around Ulsan and Gyeongju settled down in the region, which witnessed the combined structure of Songguk-ri style grave boundaries and Geomdan-ri style burial methods through selective needs based on the diverse environmental and social factors of the two cultures. Behind these changes in the local society were the division of generations via single tombs in the latter part of the early period and the social changes in the middle period based on rice farming agriculture. As the tomb groups also went through an expansion and changing process, the generational communities were consolidated and made mutual efforts to further gradual social integration.