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The sexual deviance of women in nineteenth-century England embodies certain problematic aspects of contemporary culture―its desires, anxieties and preoccupations―as covered in numerous texts and images. The long-held assumption that sexuality is biologically determined as the basic natural drive of the human being has been fundamentally challenged. Related studies have demonstrated the politics of sexuality by identifying it as the vital locus of power in modern Western societies. Research indicates that sexuality is a historically constructed entity, conditioned by economic, political and socio-cultural processes. The specific modes of representation of the fallen woman in Victorian art illustrate the ways in which artistic and cultural practices intervene in the construction of and, to a far lesser degree, the revision of the dominant ideas, values and morals regarding sexuality. They thus ultimately affirm the point that sexuality is a contested arena in which social relations, divisions and struggles all come to the forefront.
The present thesis is intended to consider Walter Sickert’s urban vision, as configured in his images of modern London. In his formative years he was profoundly influenced by Impressionist masters like Whistler and Degas and developed an analogous approach to subject matter and technique, eventually attaining a highly individual style of his own. A quintessential urban painter, he was intent on grappling with and giving form to the gritty realities of city life. Sickert adopted the genre studies of urban existence like his predecessors, but he was more drawn towards the seedy, depraved and sombre aspects of the metropolis. His music hall series, alongside his other London paintings, attests to his attempt to illuminate the city as a modern text, revealing its disconcerting ambivalence and antithesis. Even while touching upon the world of urban entertainment, his prime concern consisted not in depicting the glamourous spectacle but in exploring the socio-cultural forces which condition that world. In this respect, Sickert’s key legacy to British art could be termed as new urban realism, which is engaged with addressing and opening to critical scrutiny the tensions and paradoxes inherent in modern city life.
본 연구는 자동노출제어장치(Automatic Exposure Control, AEC)와 수동노출 이용 시 입사표면선량(Entrance Surface Dose, ESD)과 Entropy를 분석하여 자동노출제어장치의 유용성에 대해 알아보고자 하였다. 실험방법은 Skull, Chest, Abdomen, Pelvis 부위에 대하여 란도팬텀(Rando Phantom)에 반도체 선량계를 위치시켜 선량을 측정하였고, 동시에 획득한 DICOM(Digital Imaging and Communications in Medicine) 파일을 Matlab으로 Entropy 분석을 하였다. 그 결과 자동노출제어장치 이용 시 모든 부위의 입사표면선량이 수동노출보다 낮았고 Entropy 수치는 높았으며, paired -test는 p<0.05로 유의한 차이가 있음을 알 수 있었다. 결론적으로 자동노출제어장치의 사용은 X선 검사 시 발생할 수 있는 불필요한 방사선량과 정보의 손실량을 줄여서 피폭선량과 영상 화질의 최적화에 기여할 수 있는 유용한 방법이 될 수 있다. The purpose of this study is to evaluate the usefulness of automatic exposure control (AEC) by analyzing entrance surface dose (ESD) and entropy on using automatic exposure and manual exposure. The experimental method was to measure the dose by placing a semiconductor dosimeter on the Rando Phantom for the Pelvis, Abdomen, Skull, and Chest regions. The DICOM file was simultaneously acquired and then entropy was analyzed by using Matlab. As a result, when using the automatic exposure control, dose of all sites was lower than manual exposure’s dose and entropy was high. In addition, paired t-test was performed for each item and p<0.05 was found in each item. In conclusion, the use of automatic exposure control can be a useful method to contribute to the optimization of the exposure dose and the image quality by reducing the amount of unnecessary radiation amount and information loss that can occur in X-ray examination.
This thesis aims to reappraise Dorothea Brooke, the heroine of Middlemarch , exploring the ways in which she anticipates modern femininity. To date, she has been thought to embody the doctrine of female renunciation, corroborating the Victorian codes of womanhood. Yet, she is a far more complex figure, who defies monolithic interpretations. Her rash, sensual and self-assertive sides, counterpointed with her discreet, spiritual and self-effacing ones, illuminate the intriguing contradictions that characterize her. Dorothea is intent on self-search and realization, circumscribed by imperfect social conditions. She acts upon her own principles and takes the consequences. She thus becomes the mistress of her life and achieves a union which signifies modern ideals of marriage. In sum, Dorothea is a modern woman in the making, who prefigures the heroines of twentieth-century novels. The representation of modern femininity in the novel suggests that the writer attempted to reconceive the prevailing gender norms and perceptions, envisioning new ideals of male-female relationship.
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This essay aims to consider some possible parallels between Walter Sickert and Henri de Toulouse-Lautrec, the two cross-channel artists who took a common approach to painting in turn-of-thetwentieth- century London and Paris. They both developed a predilection for the depiction of modern city life and, especially, the world of urban entertainment. They attempted to make stylistic experiments in tandem with the aesthetics that they espoused. Common ground is also found in their engagement with the graphic arts, which contributed to eliminating the long-standing hierarchy between the fine and applied arts. A comparative study of the two eminent artists suggests that they stood at the forefront of contemporary European art, paving the way for the future course of that art. Furthermore, the inquiry affords an intriguing vantage point for exploring Anglo-French dialogues in the fin-de-siècle art world.