• Journal of the Korean Society for Library and Information Science
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• v.40 no.2
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• pp.415-434
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• 2006

This study aim to develop a classification system to classify the descriptors, which is been in korean literatures. Firstly this classification structure is categorized on six facets and the classification system is constructed on a deductive method based on korean literature knowledge. The study compared the classification system with various thesaurus's classification system in humane studies and by the comparison, the classification system of korean literature's terms find out having some merits as using the facet method. On account of these merits the classification system has achieved a consistency of categorization independently and reduced a complexity of classification structure. And by categorizing the common categories, the study has reduced the size of schedules. Finally, the classification system has advanced the structure in the process of classifying the descriptors.

• (The)Study of the Eastern Classic
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• no.32
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• pp.391-424
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• 2008

A Buddhist relic deposit was discovered from the three storied stone pagoda which was called as Seokgatap of Bulguksa temple in Gyeongju in 1966. In this relic deposit, several clumped papers written in ink which were found from the pagoda. These manuscripts are one of the most valuable materials for understanding Korean Buddhism and Buddhist Art History. In this paper, I examined several terms for pagoda subsidiaries found in these manuscripts, which have not been known to us up to recently. In addition, I compared these terms to the real pagodas or pagoda images in Korea. The manuscripts from Seokgatap pagdoa were composed of three different kinds of records; (1) "Record for the Repair of Mugujeonggwangtap Pagoda (無垢淨光塔重修記, 1024)"; (2)"Record for the Reconstruction of West Pagoda (西石塔重修形止記, 1038); (3)"Lists of Donors for the Reconstruction of the Pagoda in Bulguksa temple (佛國寺塔重修布施名公衆僧小名記, 1038). The terminology describing pagoda was appeared in the first and the second records. In the "Record for the Repair of Mugujeonggwangtap Pagoda", there are more than ten terms, which are presumed to be the words describing some upper decorative parts of a stone pagoda. However, in the "Record for the Reconstruction of West Pagoda", there are fifteen terms which would describe the body and base parts of the Seokgatap pagoda. These new terms for pagoda subsidiaries appeared in the manuscripts of Seokgatap Pagoda are very significant materials in understanding Korean Buddhist Art, because they show the practical terms which were used in the eleventh century Buddhism of Korea, but never known to the modern academic world. The manuscripts of Seokgatap Pagoda have not been deciphered perfectly yet, so they have to be examined with more precise as well as with wider view of Buddist and Art History.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.1
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• pp.56-67
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• 2019

In order to investigate the issue with the proper name of eshel(Tamarix aphylla) mentioned in the Bible, analysis of morphological taxonomy features of plants, studies on the symbolism of the Tamarix genus, analysis of examples in Korean classics and Chinese classics, and studies on the problems found in translations of Korean, Chinese and Japanese Bibles. The results are as follows. According to plant taxonomy, similar species of the Tamarix genus are differentiated by the leaf and flower, and because the size is very small about 2-4mm, it is difficult to differentiate by the naked eye. However, T. aphylla found in the plains of Israel and T. chinensis of China and Korea have distinctive differences in terms of the shape of the branch that droops and its blooming period. The Tamarix genus is a very precious tree that was planted in royal courtyards of ancient Mesopotamia and the Han(漢) Dynasty of China, and in ancient Egypt, it was said to be a tree that gave life to the dead. In the Bible, it was used as a sign of the covenant that God was with Abraham, and it also symbolized the prophet Samuel and the court of Samuel. When examining the example in Korean classics, the Tamarix genus was used as a common term in the Joseon Dynasty and it was often used as the medical term '$Ch{\bar{e}}ngli{\check{u}}$(檉柳)'. Meanwhile, the term 'wiseonglyu(渭城柳)' was used as a literary term. Upon researching the period and name of literature related to $Ch{\bar{e}}ngli{\check{u}}$(檉柳) among Chinese medicinal herb books, a total of 16 terms were used and among these terms, the term Chuísīliǔ(垂絲柳) used in the Chinese Bible cannot be found. There was no word called 'wiseonglyu(渭城柳)' that originated from the poem by Wang Wei(699-759) of Tang(唐) Dynasty and in fact, the word 'halyu(河柳)' that was related to Zhou(周) China. But when investigating the academic terms of China currently used, the words Chuísīliǔ(垂絲柳) and $Ch{\bar{e}}ngli{\check{u}}$(檉柳) are used equally, and therefore, it appears that the translation of eshel in the Chinese Bible as either Chuísīliǔ (垂絲柳) or $Ch{\bar{e}}ngli{\check{u}}$(檉柳) both appear to be of no issue. There were errors translating tamarix into 'やなぎ(willow)' in the Meiji Testaments(舊新約全書 1887), and translated correctly 'ぎょりゅう(檉柳)' since the Colloquial Japanese Bible(口語譯 聖書 1955). However, there are claims that 'gyoryu(ぎょりゅう 檉柳)' is not an indigenous species but an exotics species in the Edo Period, so it is necessary to reconsider the terminology. As apparent in the Korean classics examples analysis, there is high possibility that Korea's T. chinensis were grown in the Korean Peninsula for medicinal and gardening purposes. Therefore, the use of the medicinal term $Ch{\bar{e}}ngli{\check{u}}$(檉柳) or literary term 'wiseonglyu' in the Korean Bible may not be a big issue. However, the term 'wiseonglyu' is used very rarely even in China and as this may be connected to the admiration of China and Chinese things by literary persons of the Joseon Dynasty, so the use of this term should be reviewed carefully. Therefore, rather than using terms that may be of issue in the Bible, it is more feasible to transliterate the Hebrew word and call it eshel.

• Journal of the KSME
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• v.25 no.6
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• pp.497-501
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• 1985

연속체역학은 고전역학을 종합하여 더 합리적인 체계로 정리 발전시키려는 금세기 후반에 집중된 노력의 결정으로 볼 수 있다(1,2). 연속체의 역학적 거동에 관한 기초적 개요를 쉽게 설명하고 관련문현을 제시하여 일반기술자의 관심을 돕고저 한다(연속체역학의 우리 용어들이 정립되지 않은 것은 필자 임의로 선택하였으니 양해를 바라며, 개요의 부족함은 기초적 문헌(4)으로 쉽게 보충되도록 유의하였다)

• Proceedings of the Speleological Society Conference
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• 1995.09a
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• pp.45-52
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• 1995

카르스트라는 용어는 고대 인도-유럽어로 그 기원은 거슬러 올라간다. 암석을 뜻하는 칼라(Karra)로 부터 그 근원을 찾을 수 있고, 그것의 파생어는 유럽과 중동의 많은 언어에서도 발견된다. 북부의 유고슬라비아에서 그 단어는 칼스(kars)를 거처 카라(Kra)로 발전했다. 또한 유고슬라비아와 이태리의 국경지대인 트라에스트(Trieste)지방에서 그 지역에 대한 지역적인 명칭으로 이것이 '불모의 땅'이라는 뜻이기도 하다. 이 지역은 종종 이 지역의 자연적인 특징이 최초로 광범위하고 과학적인 연구로 받아들여진 지역으로 '고전적인 카르스트'로 언급된다. 로마시대에 지역적인 명칭은 '칼스서 혹은 칼소'(Carsus ＆ Carso)였고, 그것이 오스트리아-헝가리(Austro-Hungarian)제국의 일부분이 되고 나서, '카르스트'(karst)라는 독일말로 정착되어진다. 뷔엔나(Vienna)의 지리학 또는 지질학술대회에서 국제적인 과학적 용어로서 그 단어가 정식으로 사용되었고, 그 용어의 기술적인 사용은 19세기 중반경에 확립되었다.(중략)

• Proceedings of the Speleological Society Conference
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• 1994.05a
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• pp.89-96
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• 1994

카르스트라는 용어는 고대 인도-유럽어로 그 기원은 거슬러 올라간다. 암석을 뜻하는 칼라(Karra)로 부터 그 근원을 찾을 수 있고, 그것의 파생어는 유럽과 중동의 많은 언어에서도 발견된다. 북부의 유고슬라비아에서 그 단어는 칼스(kars)를 거처 카라(Kra)로 발전했다. 또한 유고슬라비아와 이태리의 국경지대인 트라에스트(Trieste)지방에서 그 지역에 대한 지역적인 명칭으로 이것이 '불모의 땅'이라는 뜻이기도 하다. 이 지역은 종종 이 지역의 자연적인 특징이 최초로 광범위하고 과학적인 연구로 받아들여진 지역으로 '고전적인 카르스트'로 언급된다. 로마시대에 지역적인 명칭은 '칼스서 혹은 칼소'(Carsus ＆ Carso)였고, 그것이 오스트리아-헝가리(Austro-Hungarian)제국의 일부분이 되고 나서, '카르스트'(karst)라는 독일말로 정착되어진다. 뷔엔나(Vienna)의 지리학 또는 지질학술대회에서 국제적인 과학적 용어로서 그 단어가 정식으로 사용되었고, 그 용어의 기술적인 사용은 19세기 중반경에 확립되었다.(중략)

• Journal of Information Management
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• v.26 no.3
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• pp.63-86
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• 1995

What is MULTIMEDIA? This paper introduces the present and the future overview of multimedia while explaining its definition and the related terms. The paper especially probes into the topics of multimedia PC, INTERNET, DVD, SGML, MPEG, the essential topics when one talks about multimedia. The paper also introduces how to deal with the present and the future conditions of multimedia.

• (The)Study of the Eastern Classic
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• no.63
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• pp.9-41
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• 2016

This paper focuses on 'clean(cheong: 淸)' kinds of style terminologies among various style terminologies appearing in Heo Gyun's Seongsushihwa("惺?詩話") and tries to analyze the distinctive points which 'clean(cheong: 淸)' kinds of style terminologies include. In Heo Gyun's Seongsushihwa, 11 of 'clean' kinds of style terminologies, such as "cheonggyeong(淸勁), cheonghryang(淸亮), cheongryeo(淸麗), cheongseom(淸贍), cheongso(淸?), cheongweol(淸越), cheongjang(淸壯), cheongjeol(淸絶), cheongjeol(淸切), cheongchang(淸?), cheongcho(淸楚)," were used. This paper focuses and analyzes 'cheonggyeong(淸勁)', 'cheongjeol(淸切)', 'cheongcho(淸楚)', and 'cheongweol(淸越)' that he suggested through applying to real literary pieces. The result of analysis indicates that 'clean' kinds of style terminologies 'cheonggyeong', 'cheongjeol', 'cheongcho', and 'cheongweol' share the same 1st character 'clean(淸)', yet have distinctive qualities by the 2nd characters. These 4 style terminologies all share 'cheong(淸)' image which means clear and clean, yet each one has the attribute of the 2nd character that indicates each one's individual characteristic. It is apparent that 'Cheonggyeong(淸勁)' reflects the 'gyeong(勁)' image meaning upright and solid and implies poems of poets' steadfast spirit within clear boundary; 'cheongjeol(淸切)' reflects the 'jeol(切)' image meaning either desperation and imminence or pitifulness and sorrow and implies poems of poets' urgent and pitiful emotions within clear and clean boundary; 'cheongcho(淸楚)' reflects the 'cho(楚)' image meaning either delicacy and fineness or slenderness and tenderness and implies poems of poets' beautiful but not luxurious, delicate and tender emotions within clear and clean boundary; and 'cheongweol(淸越)' reflects the image of 'weol(越)' meaning unworldliness and excellency and implies poems, within clear and clean boundary, of excellent appearance and mentality surpassing mundane world. Compared with the 1st character's attributes of the style terminologies which Heo Gyun used, the 2nd characters's attributes do not appear that vivid. Especially, in the case that the 2nd characters have similar meanings, it is not easy to clarify the categories. Indeed, in order to grasp clear and distinctive qualities of style terminologies, the kinds of them need to be initially categorized by the 1st characters, and then sorted by the 2nd characters. In this case, the contents which the 2nd characters of style terminologies indicate should be considered. It is because style terminologies explain both literary pieces' aesthetic qualities and writers' personalities, and because explanations about literary pieces' aesthetic qualities includes not only the conclusive poetic or semantic boundaries which literary pieces' created but also literary pieces' creation processes and expression techniques. Through the style terminologies with Heo Gyun used in Seongsushihwa, it can be aware that he evaluated poems focussing more on the conclusive semantic boundaries that poets' spirits and poems created than expression techniques or creation methods. The overall aspects Heo Gyun's such style criticism has will be checked out in more detail through further studies by examining more materials.

• (The)Study of the Eastern Classic
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• no.67
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• pp.9-34
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• 2017

This article examines the concept of 'Seongho-Studies'. The term 'SeonghoStudies' is generally used as a concept which means the overall academic world of Seongho, but it is not clear of what 'Seongho-Studies' really is. To define the term 'Seongho-Studies', characteristics of the Seongho's academic world should be found, and the characteristics have to be original. However, this work is not easy because of the immensity and the diversity of Seongho's academic world. This problem makes us find the concept of 'Seongho-studies' in the process Seongho made his academic world. We can define Seongho's academic attitudes and methods as 'scepticism and self-acquirement.' Thus 'Seongho-studies' is "All of Seongho's academic world that was achieved by the academic methods of scepticism and self-acquirement. It is exposing specific and practical thoughts on the subject based on his situation." This concept can have diverse explanations of Seongho and his followers' academic world, but this also carries various limits. Therefore the concept proposed in the article is one of the many essays for formulating a clear notion of 'Seongho-studies'.

• Trans-
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• v.4
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• pp.1-36
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• 2018

This paper summarizes some of the contents of the 7th International Symposium "Classical Art and Digital" of the Transmedia Institute(TMI), held on October 31, 2017. The purpose of this year's International Symposium was to look back on the genre and the aesthetic history of classical art and to create a place for discourse about the recognition of classical art in the modern digital era. In the first part of the discussion about the duplication of the original and virtual imitation, three presentations on "Visual Image Art and Digital" were introduced. The conclusion of this first discussion is summarized by urging the movement of viewpoint as 'systematic change of the routine aesthetic process'. In the second part on "Performing Arts and Digital", we realize that we need to definitize the 'new directive term system' necessary for the era of digital convergence and performance. In this process we can refer to the need for the emergence of a new aesthetic basis. Two papers in the second part of the paper will introduce the study of 'dance' performance. Some of these studies are reintroduced at the conclusion. The theme of this year's International Symposium can be expected to provide a foothold for the forthcoming second 'Laocoon sculpture argue'. In short, behind the various controversies in the history of aesthetics, this year's conference is concluded with a call for the need to flexibly read the enormous flow of 'art' and 'mental heritage left by art'. It is said that this year's international conferences are presenting the basis of practical and systematic theories for the upcoming fusion media era.