• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.3
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• pp.116-123
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• 2011

This study investigates the characteristics(form, material, structure, method of construction, vegetation) and model of lotus pond in Joseon Royal Tombs for conservation and restoration. The objects of study are the lotus pond of Namyangju Gwangreung, Hyoreung, Gimpo Jangreung and Sungreung that are well-preserved and the record is remaining. The form is two plane types, square shaped include an island and square shaped. The pond is 7.5~81m in width and 6.5~45m in length and the island is 8~16m in diameter. The depth of water is 0.5~1.2m and the cross section form is narrow bottom and wide top. The material of shore protection is soil in Hyoreung, Gimpo Jangreung and Sungreung. The bottom is mud in all sites. I think that the main material of the lotus pond in Joseon Royal Tombs is soil. The lotus pond is built by soil bank in the structure and method of construction. The water supply and drainage are worked through the culvert. There are many kinds of plants in the lotus pond today, however I think that the model of vegetation of lotus pond in Joseon Royal Tombs is lotus the inside, pine tree, fir tree and flowers the around and pine tree the inside of island in compared the present and the old literature. In comparison with the lotus pond in Joseon Royal Tombs and the lotus pond in the Joseon palace, the material is the biggest difference. The main material is soil in Royal Tombs but isodomic in Royal Palace. I think that the difference of material in between two causes the difference of structure and method of construction. The Royal Tombs is valuable in architecture, landscape and esthetics, this study investigated the characteristics and model of lotus pond in Joseon Royal Tombs. I think that this study serves as a momentum to find a traditional technique in Royal water space and offer the foundation to plan in the contemporary water space.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.90-104
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• 2011

This study identified the scenic characteristics in Gugok and symbolism reflected in titles of the scenery of the season in Gugok from a perspective of Sundoism concentrated on Galeun Gugok in Goisan which is influenced most greatly by Sundoism hermit ideas in Korea, along with Seonyudong-Gugok. In addition, it suggested a measure for arrangement and narrative Storyboard of Galeun Gugok structure corresponding with promotion and propagation of Gugok cultural scenes and educational goals. According to analysis and interpretation of the various Gugoks forming Galeun Gugok in terms of their titles, names engraved in surrounding elements and the coherent symbolic meanings of its scenery and place through comparison with secenery of near Seonyudong-Gugok, the result shows that Galeun Gugok comprises wishes for eternal life in the forms of Taoist hermit-related scenery of the season within the range of stream and old stories based on environmental affordance. In figurative way, it ultimately presents the Wonyung(圓融) idea which seeks a harmonious combination of God and humankind. In particular, consciousness of longevity without problems is deeply inherent in the background of eternalness of plants, divinity of animals and natural homeostasis. Also, 9 Gok Seongukam set up at visual terminal reflect noticeably that a game Go is the amusement of the immortals, which describe 9 ranks of GO figuratively. Galeun Gugok is formed in a unity structure, which is hermit-oriented Sundoism and motif, such as longevity and immortality, divinity and enjoyment of Sundoism hermit rather than used as a method to achieve taste for the arts or ethics. Given the fact, it presents eternal longevity and atmosphere of seclusion in very strong way. Development of spatial Storyboard structure based on this is interpreted as 'Entering the world of hermits(Introduction)'-'Looking the world(Development)'-'Living with hermits(Turn)'-'Becoming hermit(Conclusion).' Finally, the scenery image of Galeun Gugok presented in surface structure is based on beauty of the immortal land scenery as well as beauty of pre-achieved space in Gugokdongcheon and arranged the vertical narrative structure as divine space of 9 ranks of GO. Taking those into account, scenery story board of Galeun Gugok was suggested in accordance with a theme of 6 cuts; Gnagsun(降仙)-Sungyeong(仙境)- Sunyak(仙藥)-Sunhak(仙鶴)-Sunyu(仙遊)-Eunsun(隱仙). It is obvious that hermit which live an eternal life as a representative of Sundoism, should be the main motif of scenery planning in a filed of modem landscaping. Therefore, the most valuable component in designing Korean landscape must be the homeostasis of surrounding landscape which supports the characteristics of invariability and divinity of nature.

• Journal of Korean Society of Forest Science
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• v.100 no.1
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• pp.52-61
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• 2011

Whereas recent researches have elucidated the positive ecological roles of large wood (LW) in fishbearing channels, LW is also recognized as a negative factor of log-laden debris flows and floods in densely populated areas. However in Republic of Korea, no study has investigated longitudinal variations of LW distribution and dynamic along the stream corridor. Hence to elucidate 1) physical factors controlling longitudinal distribution of LW and 2) their effect on variation in LW load amount, we surveyed the amount of LW with respect to channel morphology in a mountain stream, originated from Mt. Ki-ryong in Inje, Gangwondo. Model selection in the Generalized Linear Model procedure revealed that number of boulder (greater than or equal to 1.0 m in diameter), bankfull channel width and their interaction were the best predictors explaining LW load volume per unit channel segment area (unit LW load). In general, boulders scattered within small mountain streams influence LW retention as flow obstructions. However, in this study, we found that the effect of the boulders vary with the channel width; that is, whereas the unit LW load in the segment with narrow channel width increased continuously with increasing boulder number, it in the segment with wide channel width did not depend on the boulder number. This should be because that, in two channels having different widths, the rates of channel widths reduced by boulders are different although boulder numbers are same. Our findings on LW load varying with physical factors (i.e., interaction of boulder number and channel width) along the stream corridor suggest understanding for longitudinal continuum of hydrogeomorphic and ecologic characteristics in stream environments, and these should be carefully applied into the erosion control works for systematic watershed management and subsequent disaster prevention.

• Journal of Korean Historical Folklife
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• no.27
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• pp.267-361
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• 2008

This article traces how the modern Chinese "nation" was constructed as an "imagined community" around Huang-ti (the Yellow Emperor) in late Qing. Huang-ti was a legendary figure in ancient China and the imperial courts monopolized the worship of him. Many late Qing intellectuals appropriated this symbolic figure and, through a set of discursive strategies of "framing, voice and narrative structure," transformed him into a privileged symbol for modern Chinese national identity. What Huang-ti could offer was, however, no more than a "public face" for the imagined new national community, or in other words, a formal structure without substantial contents. No consensus appeared on whom the Chinese nation should include and where the Chinese nation should draw its boundaries. The anti-Manchu revolutionaries emphasized the primordial attachment of blood and considered modern China an exclusive community of Huang-ti's descent. The constitutional reformers sought to stretch the boundaries to include the ethnic groups other than the Han. Some minority intellectuals, particularly the Manchu ones, re-constructed the historic memory of their ethnic origin around Huang-ti. The quarrels among intellectuals of different political persuasion testify how Huang-ti as the most powerful cultural symbol became a site for contests and negotiations in the late Qing process of national construction.

• (The)Study of the Eastern Classic
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• no.72
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• pp.67-95
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• 2018

Gyeong-san(經山) Jeong Won-yong(鄭元容, 1783~1873) passed the state examination in 1802(純祖 2), and he has been in office for about 70 years. Jeong Won-yong with excellent administrative ability, he was an important figure in the Sedo politics, and was recognized by many writers for his outstanding writings. Nevertheless, his research results are small. This paper studyed his literary theories as a preliminary to look at Jeong Won-yong's literature in general After examining the features of Jeong Won-yong, there were three main aspects. First, Jeong Won-yong had a negative view of imitation. In particular, he stressed that he should oppose the attitude of unconditionally following Go-in(古人) without considering his capabilities and express his intention. Second, Jeong Won-yong pursued Jin-ui(眞意) when he wrote a poem. He thought rather than think that it is important to decorate a poem, it is important that emotion is exposed to the poem in a natural way. And he tried to unfold his individuality in the poem without copying others. Because if he imitate someone else when he write a poem, it is hard to express his thinking. His negative view of imitation and he pursued Jin-ui(眞意) are closely related. Lastly, Jeong Won-yong considered records important. Jeong Won-yong's record spirit is deeply related to his government service life. Jeong Won-yong who had been in government service all his life, hoped his experience would help manage the country. That's why he thought records were very important. And through this recording behavior, he wanted to get help later on. So it seems that he left a vast works.

• (The) Research of the performance art and culture
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• no.32
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• pp.549-594
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• 2016

This research focuses on 'dramaturgical' performance among all the acts of a director who constructs an artistic structure. This is, specifically, the dramaturgical acts that a director comes to perform in the process of dramatizing a novel. This paper aims to suggest a new kind of approach for productive interaction between drama theory and practice, not only by documenting the process of creation but also by moulding theoretical basis on acts of a director. As you all know, creative acts in practice so far have rarely been considered as subject and purpose of academic study. Even some lucky plays and directors had to settle for fragmentary review. That's mainly because Korean theatrical circles confine the way of recording the whole process of drama in practice only to a piecemeal review of performance. As a result, there have been very few cases of observing comtemporary plays under the historical background of drama. In this regard, this paper desires to raise a question, 'is productive interaction between drama theory and creative practice possible?' and to find the answer. If what is described in this paper can have worth beyond a mere record of creative acts, it may establish theoretical grounds on interpreting the play stage of this era by reading, in the contexts of drama history, a director's dramaturgical performing acts to dramatize a novel. The researcher of this paper, as a director of a theater troupe like a human and artistic community, adapted "Crime and Punishment" by Dostoevsky into four plays. They are , , , , and completed in 2009, 2011, 2012, and 2014, respectively as an independent theatric work having no connections to each other in story. Not only because the four plays share the same novel as its origin but also because an identical system is applied to dramatization of the novel, it gives an opportunity to focus on and perceive the role of the director. During the process of dramatiztion, the director, the researcher of this paper, carried all the duties, such as selecting a text, approaching the text theoretically and academically, adapting it for drama, picking out appropriate episodes. This paper defines all these acts as dramaturgical performing acts. In this sense, this paper can also be seen as a documentary of 'acts' performed during the process of dramatization.

• (The) Research of the performance art and culture
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• no.25
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• pp.5-30
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• 2012

I. Identity of Yeonsegeuk as total arts. The purpose of the thesis is to arrange the identy of Yeonsegeuk(Kino-Drama) which is theatre or film. The process of study is tried to discuss on the aethetic of Yeonsegeuk. II. Appearance of Yeonsegeuk and negative disputation of yeonsegeuk The first imported Yeonsegeuk from Japanese in Korea is made by the group of Mizuno Ganggetsu(水野觀月) on Oct. 16. 1915 at Pusan and also to run in Seoul at Hwanggeumgwan. The first of Korean Yeonsegeuk is by Kim, Dosan, a leader of Singeukjwa(theare group) on Oct. 27. 1919 at Danseongsa. Before the liberation of Korea from Japan all made korean Yeonsegeuk are 28 works. III. Dramatic form of Yeonsegeuk I study on the relation between Yeonsegeuik and Sinpageuik(new theatre of modern drama in 1920's). I find that Yeonsegeuik admitted the thechnics of the Sinpageuik and the contents. If We think that the theatre is synthetic art which genealize all arts, we can insist that the Yeonsegeuk is valued the total art as new performance to comply with film art to theatre. Conclusionly Yeonsegeuk is called 'Expanded Theatre' as the new performance which must be dicussed in the view of total art. VI. Discussion on the the aethetic of Yeonsegeuk When we compare the structure of film with the structure of theatre, we can't find a diffrent element between the structure of two art in art semiotic. But we find a fact that film art has special elements in mechanics character which are camera working and motage. These technics influence on the audience's mind. It is different point between Japan and Korean's Kino-drama and Germany's that is to admit the aethetic of total art or not. V. Yeonsegeuk as new performance During Korean modern times Kino-drama was first a kind of total art with stage and screen. But it is regretable that Kino-drama didn't have the background of theory which discourse on the comprehension of total art. As the result Kino-drama bring the confusion of argument that Kino-drama is total art or expanded theatre. This confusion will be disputed on film art as performing arts or future art as expanded film and total art.

• (The)Study of the Eastern Classic
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• no.70
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• pp.495-524
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• 2018

This study investigated the literary theory of Jang Jiyeon and his compilation consciousness of the historical biography, and based on this, the study examined the aspect and characteristic of the personage adoption of "Ilsayusa". To figure out the characteristic of "Ilsayusa", this study attempted to investigate the Jang Jiyeon's cognition on epic literature first. Jang Jiyeon had interest in the historical biography in his early days. But he clearly expressed the negative position about the novels which had been handed down from old times, mentioning about their harmful effect, even though they were in a big popularity. The good readings he thought was supposed to be helpful for person's work, study, personality and even the custom, so it is thought that the compilation of "Ilsayusa" was planned as a part of a usefulness to help readers' actual lives by summarizing Jang Jiyeon's philosophy as the form of a historical biography of personages who had actually existed. The direct motivation and the awareness of the problem to compile "Ilsayusa" could be confirmed by the postscript he left. Pointing that Joseon's policy of appointing persons of ability resulted in the loss of the nation, Jang Jiyeon paid attention to the classical scholars from low class, people from under middle class and the local figures in Hamgyeongdo and Pyeongando in the process of compiling "Ilsayusa". Along with this, a kind of a sense of duty that the old heritage must be examined by descendents was manifested as the compilation of "Ilsayusa". Through this, Jang Jiyeon tried to show the good model to the readers of "Ilsayusa" what the way of living would be for raising their volition and keeping the fundamentals. The tendency and characteristic of compiling personages in "Ilsayusa" could be sorted in a few ways as written below. First, it includes all kinds of all actually existed episodes while he was collecting various historical biographies published before. Second, it includes the new kinds of personages paying particular attention to figures of middle class and commoners. Third, it compiled the female figures in a great volume and described new model of woman. Fourth, for areas, it has episodes of all areas in the nation including Pyeongando and Hamgyeongdo. Thinking about all the discussion above, we could estimate that "Ilsayusa" is the definitive edition of these kinds of books which inherited all performances of the biographical literature in better way, which had been accomplished in 19th century.

• Korean Journal of Environmental Biology
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• v.38 no.4
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• pp.528-553
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• 2020

Upland fields are characterized by dry environments, a high degree of disturbance by farming practices such as double-cropping, and a high diversity of crops compared to other field types. This study focused on the floristic composition and characteristics of upland fields in South Korea. Flora surveys were conducted in 36 areas in nine provinces at two times (June and August) in 2015. The results showed that the vascular plants in the upland fields in South Korea included 532 taxa, containing 100 families, 322 genera, 483 species, nine subspecies, 37 varieties, one form, and two hybrids. Among the 100 families, Asteraceae was the most diverse in species (75 taxa), followed by Poaceae (68 taxa), Fabaceae (34 taxa), Polygonaceae (21 taxa), Rosaceae (19 taxa), and Liliaceae (17 taxa). Based on the occurrence frequency of each species, Acalypha australis L. (100%), and Artemisia indica Willd. (100%) were the highest, followed by Humulus scandens (Lour.) Merr., Rorippa palustris (L.) Besser, Conyza canadensis (L.) Cronquist, Erigeron annuus (L.) Pers., Lactuca indica L., Commelina communis L., Digitaria ciliaris (Retz.) Koeler, Echinochloa crus-galli(L.) P.Beauv., Cyperus microiria Steud., and Oxalis corniculata L. The biological type of upland fields in South Korea was determined to be Th-R₅-D₄-e type. Rare plants were found in 11 taxa: Taxus cuspidata Siebold & Zucc, Magnolia kobus DC, Clematis trichotoma Nakai, Aristolochina contorta Bunge, Buxus sinica (Rehder & E.H.Wilson) M.Cheng var. koreana (Nakai ex Rehder) Q.L.Wang, Melothria japonica (Thunb.) Maxim, Mitrasacme indica Wight, Lithospermum arvense L., Carpesium rosulatum Miq., Allium senescens L., and Pseudoraphis sordida (Thwaites) S.M.Phillips & S.L.Chen. Ninety-seven taxa contained naturalized plants composed of 24 families, 68 genera, 97 species, one variety, and one form. The urbanization and naturalization indices were 30.5% and 18.4%, respectively.

• Journal of the Korean Applied Science and Technology
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• v.38 no.3
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• pp.824-831
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• 2021

1, 2-Octanediol galactoside (OD-gal) has been synthesized from 1, 2-octanediol (OD), as a safer cosmetic preservative, using recombinant Escherichia coli β-galactosidase (β-gal). To confirm the molecular structure of synthesized OD-gal, mass spectrometry and NMR (¹H- and ¹³C-) spectroscopy of OD-gal were carried out. In the reaction mixture, a sodium adduct ion of OD-gal (m/z=331.1732) was identified using mass spectrometry analysis. In addition, ¹H NMR spectrum of OD-gal showed multiple peaks corresponding to the galactosyl group, which is evidence of galactosylation on OD. Downfield proton peaks at δ_H 4.39 ppm and multiple peaks from δ_H 3.98~3.55 ppm were indicative of galactosylation on OD. Up field proton peaks at δ_H 1.52~1.26 ppm and 0.89 ppm showed the presence of CH₂ and CH₃ protons of OD. ¹³C NMR spectrum revealed the presence of 24 carbons suggestive of α- and β-anomers of OD-gal. Among 14 carbon peaks from each anomer, the 4 peaks at δ_C 31.4, 29.0, 22.3, and 13.7 ppm were assigned to be overlapped showing only 24 peaks out of a total of 28 peaks. The mass value from mass spectrometry analysis of OD-gal, and ¹H and ¹³C NMR spectral data were in good agreement with the expecting structure of OD-gal. Finally, we identified a galactose molecule from the hydrolysate of OD-gal using β-gal. We are expecting that through future study it will eventually be able to develop a safe cosmetic preservative.