• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.2
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• pp.109-117
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• 2010

This study conducts a case analysis based on the Olympic Forest Park in Beijing, which is specially designed for the 2008 Beijing Olympic Games. The construction of the Olympic Forest Park not only comprises the design philosophy of city parks and forest parks, but also applies Chinese traditional design elements. This study, first, researches on the design concepts of city parks in the context of traditional landscape architecture elements from both physical and cultural perspectives. The author studies the related materials including the"General Introduction of the Beijing Olympic Forest Park Landscape Plan", and employs the approaches of site investigation and user survey and interview, to analyze the cognition and preference degree of the various traditional design elements displayed in the Olympic Forest Park. To quantize the survey data on the Olympic Forest Park, this study uses the spss(v17.0) software to run a frequency analysis and presents detailed demographic, frequencies and means analyses. The author then reaches the conclusion on the preference degree of the various Chinese traditional design elements in the Olympic Forest Park. According to the analysis result, the elements that appear with the highest frequencies are mountains and waters, traditional garden plants and artistic conception. The most favorable elements are in sequence traditional garden architecture, traditional garden philosophical thinking and artistic conception. The Olympic Forest Park in Beijing is constructed on the basis of multiple design elements, comprising Chinese traditional design elements and the historical axis. As an exemplification of contemporary city park that reflects the variation of age and development of society, the Olympic Forest Park offers the reference for the selection of traditional design elements in the future schemes of city parks. However, due to the difficulty in gathering materials about the Forest Park and the limitations on the location and time constrain of the survey, there exists lack of sufficiency that could be improved in the future.

• Korean Journal of Breeding Science
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• v.40 no.3
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• pp.328-331
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• 2008

Hwangeumnodeul is a new japonica rice cultivar developed from a cross between Milyang165 and HR15151-B-21-3 at Honam Agricultural Research Institute (HARI), NICS, RDA, in 2007. This cultivar has short grains and about 139 days of growth duration from direct seeding to harvesting in the southern plain areas. Culm length of this cultivar is 78 cm and the number of spikelet per panicle is similar to that of the check cultivar, Nampyeongbyeo, while filled grain rate is lower than the check variety. This cultivar is moderately resistant to leaf blast, bacterial blight pathogens of $K_1$, $K_2$ and $K_3$ and stripe virus but susceptible to major virus diseases and insect pests. Milled kernel of Hwanggeumnodeul is translucent with non-glutinous endosperm. This cultivar has about 5.7% and 18.6% of protein and amylose contents, respectively. Palatability of cooked rice of Hwanggeumnodeul is similar to Nampyeongbyeo. Its milling recovery and head rice were 75.6% and 90.0%, respectively. Hwanggeumnodeul yielded 5.69 and 5.61 MT/ha in milled rice at the under wet-direct and dry-direct seeding conditions, respectively which are 17% and 12% higher than the check variety, Juanbyeo. It yielded 5.86 MT/ha, 8% higher than Nampyeongbyeo at the standard fertilizer level of the ordinary transplanting cultivation. "Hwanggeumnodeul" would be adaptable for ordinary transplanting as well as direct seeding in the southern plain including Chungcheong province.

• Journal of Korea Water Resources Association
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• v.54 no.10
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• pp.819-833
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• 2021

This study is to evaluate applicability of linkage modeling using PHABSIM (Physical Habitat Simulation System) and SWAT (Soil and Water Assessment Tool) and to estimate ecological flow for target fishes of Andong downstream (4,565.7 km²). The SWAT was established considering 2 multi purpose dam (ADD, IHD) and 1 streamflow gauging station (GD). The SWAT was calibrated and validated with 9 years (2012 ~ 2020) data of 1 stream (GD) and 2 multi-purpose dam (ADD, IHD). For streamflow and dam inflows (GD, ADD and IHD), R², NSE and RMSE were 0.52 ~ 0.74, 0.48 ~ 0.71, and 0.92 ~ 2.51 mm/day respectively. As a result of flow duration analysis for 9 years (2012 ~ 2020) using calibrated streamflow, the average Q185 and Q275 were 36.5 m³/sec (-1.4%) and 23.8 m³/sec (0%) respectively compared with the observed flow duration and were applied to flow boundary condition of PHABSIM. The target stream was selected as the 410 m section where GD is located, and stream cross-section and hydraulic factors were constructed based on Nakdong River Basic Plan Report and HEC-RAS. The dominant species of the target stream was Zacco platypus and the sub-dominant species was Puntungia herzi Herzenstein, and the HSI (Habitat Suitability Index) of target species was collected through references research. As the result of PHABSIM water level and velocity simulation, error of Q185 and Q275 were analyzed -0.12 m, +0.00 m and +0.06 m/s, +0.09 m/s respectively. The average WUA (Weighted Usable Area) and ecological flow of Zacco platypus and Puntungia herzi Herzenstein were evaluated 76,817.0 m²/1000m, 20.0 m³/sec and 46,628.6 m²/1000m, 9.0 m³/sec. This results indicated Zacco platypus is more adaptable to target stream than Puntungia herzi Herzenstein.

• (The) Research of the performance art and culture
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• no.20
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• pp.31-61
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• 2010

This thesis proposes to explore the theatre aesthetics of North-Korea during after the Liberation. From now South-Korean theorists have provided the theatre aesthetics of North-Korea to South-Korea, so we can say that it lacks of an equity. For example, South-theorists have said that North-Korean theatre only emphasized politics and propaganda, they have had not any aesthetics in performance. So this study focused on North-Korean critics and records for fairness and as a result something new is founded. The best theatres in North-Korea were some works which contains natural and proper lines to character, well-expressed inner desires of characters, realistic acting and stage design, and realistic life of working class. Of course they should reflect communist ideology and policy, but more important is that it did not mean everything in North-Korea. So we can say that it is fact that North-Korea should reflect their policy, which does not mean lack of aesthetics of performance. North-Korea had an obvious point of view for theatre, and they made an effort to realistic lines, movements and stage. During right after the Liberation, North Korea sought to find an answer for 'realization of true life', and sought to eliminate Japanese acting style in theatre. Concluded theatre aesthetics of North-Korea during right after the Liberation is realistic acting and directing style.

• Korean Journal of Breeding Science
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• v.40 no.4
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• pp.533-536
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• 2008

Hopum is a new japonica rice cultivar developed from the cross between Milyang165 and F1 crossing Milyang165 and Iksan438 at Department of Rice and Winter Cereal Crop, NICS, RDA, in 2006. This cultivar has a short grain shape and about 141 days growth duration from direct seeding to harvesting in the southern plain including Chungcheong province. This cultivar has short culm and spikelet number per panicle is similar to that of Nampyeongbyeo, while filled grain rate is lower than standard variety. This cultivar has medium size of brown rice and shows moderate resistance to leaf blast, to bacterial blight pathogens of $K_1$, $K_2$ and $K_3$ and stripe virus disease but susceptible to major virus diseases and insect pests. The milled kernel of Hopum is translucent with non-glutinous endosperm. Protein and amylose content of Hopum is about 6.5% and 18.7%, respectively. This cultivar has better palatability of cooked rice than Chucheongbyeo harvested in Gyeongki province. Its milling recovery (76.8%) and percentage of perfect-shaped milled rice (94.7%) were higher than Nampyeongbyeo. The milled rice yield of Hopum was 5.83 MT/ha (15% higher than Juan) under wet-direct seeding, 5.66 MT/ha (8% higher than Juan) under dry-direct seeding, and 6.00 MT/ha (8% higher than Nampyeong) under ordinary transplanting cultivation. "Hopum" would be adaptable for ordinary transplanting and direct seeding in the southern plain including Chungcheong province.

• Korean Journal of Heritage: History & Science
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• v.43 no.4
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• pp.56-77
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• 2010

The tortoise pedestal for the memorial monument of Choe Jin-rip(an army officer in the mid-Joseon Period) in Ijo-ri, Naenam-myeon, Gyeongju is known to have been made in 1740. As such, it was originally understood to be a Joseon imitation of a tortoise pedestal made in the Unified Silla Period. The style of the Ijori Tortoise Pedestal differs from other tortoise pedestals dating back to the same period, and bears no resemblance to the Unified Silla pedestals of which it is a copy. Mullu ilgi, a record of the production of the pedestal, explains that the monument was made before the pedestal. Traces show that the two sides of the bottom of the monument were cut off so that it would fit into the smaller space made on the pedestal. It is scarcely conceivable that they made the pedestal and the platform without considering the bottom size of the monument. The record only states that the monument was made at a temple site named Baegundae, without explaining the details of the production process. This leaves some doubt as to whether its production was undertaken systematically. The cloud patterns engraved on this pedestal look similar to the temporal seriation found on the Tortoise Pedestal of the Royal Tomb of King Muyeol and the Seoangni Tortoise Pedestal of Gyeongju. The lotus pattern decorating the square pedestal on the back of the tortoise is one of a number of patterns that were widely used on roof-tiles in the 8th century, the heyday of the Unified Silla Kingdom. The Ijori Tortoise Pedestal, which represents a tortoise moving forward, displays a liveliness the like of which is rarely found in its cousins remaining in Gyeongju. The layout of the patterns in a queue on the tortoise-shell looks much better schematized than those made at an earlier date. It also looks like a more developed form, with the use of space taken into account. Such factors as the style of the patterns, the incongruity between the monument and its pedestal, and what is stated in the historical record indicate that the Ijori Tortoise Pedestal of Gyeongju was made in the mid-8th century(i.e. during the Unified Silla Period), rather than in the Joseon Period(i.e. the 18th century), as an imitation of earlier ones, including changes in the style unique to the Silla Period.

• Korean Journal of Heritage: History & Science
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• v.48 no.2
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• pp.142-157
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• 2015

This study examines how traditional knowledge functions in the specific techniques to make pottery in terms of the traditional knowledge on the pottery techniques of Onggi potters. It focuses on how traditional pottery manufacturing skills are categorized and what aspects are observed with regard to the techniques. The pottery manufacturing process is divided into the preparation step of raw material, the molding step of pottery, and the final plasticity step. Each step involves unique traditional knowledge. The preparation step mainly comprises the knowledge on different kinds of mud. The knowledge is about the colors and properties of mud, the information on the regional distribution of quality mud, and the techniques to optimize mud for pottery manufacturing. The molding step mainly involves the structure and shape of spinning wheels, the techniques to accumulate mud, ways to use different kinds of tools, the techniques to dry processed pottery. The plasticity step involves the knowledge on kilns and the scheme to build kilns, the skills to stack pottery inside of the kilns, the knowledge on firewood and efficient ways of wood burning, the discrimination of different kinds of fire and the techniques to stoke the kilns. These different kinds of knowledge may be roughly divided into three categories : the preparation of raw material, molding, and plasticity. They are closely connected with one another, which is because it becomes difficult to manufacture quality pottery even with only one incorrect factor. The contents of knowledge involved in the manufacturing process of pottery focused are mainly about raw material, color, shape, distribution aspect, fusion point, durability, physical property, etc, which are all about science. They are rather obtained through the experimental learning process of apprenticeship, not through the official education. It is not easy to categorize the knowledge involved. Most of the knowledge can be understood in the category of ethnoscience. In terms of the UNESCO world heritage of intangible cultural assets, the knowledge is mainly about 'the knowledge on nature and universe'. Unique knowledge and skills are, however, identified in the molding step. They can be referred to 'body techniques', which unify the physical stance of potters, tools they employ, and the conceived pottery. Potters themselves find it difficult to articulate the knowledge. In case stated, it cannot be easily understood without the experience and knowledge on the field. From the preparation of raw material to the complete products, the techniques and traditional knowledge involved in the process of manufacturing pottery are closely connected, employing numerous categories and levels. Such an aspect can be referred to as a 'techniques chain'. Here the techniques mean not only the scientific techniques but also, in addition to the skills, the knowledge of various techniques and levels including habitual, unconscious behaviors of potters.

• Cross-Cultural Studies
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• v.40
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• pp.111-131
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• 2015

An unusual success engendering loyalty among cult fans in the United States, Mamoru Oshii's 1995 cyberpunk anime, Ghost in the Shell (GITS) revolves around a female cyborg assassin named Motoko Kusanagi, a.k.a. "the Major." When the news came out last year that Scarlett Johansson was offered 10 million dollars for the role of the Major in the live action remake of GITS, the frustrated fans accused DreamWorks of "whitewashing" the classic Japanimation and turning it into a PG-13 film. While it would be premature to judge a film yet to be released, it appears timely to revisit the core achievement of Oshii's film untranslatable into the Hollywood formula. That is, unlike ultimately heteronormative and humanist sci-fi films produced in Hollywood, such as the Matrix trilogy or Cloud Atlas, GITS defies a Hollywoodization by evoking much bafflement in relation to its queer, posthuman characters and settings. This essay homes in on Major Kusanagi's body in order to update prior criticism from the perspectives of posthumanism and queer theory. If the Major's voluptuous cyborg body has been read as a liberating or as a commodified feminine body, latest critical work of posthumanism and queer theory causes us to move beyond the moralistic binaries of human/non-human and male/female. This deconstruction of binaries leads to a radical rethinking of "reality" and "identity" in an image-saturated, hypermediated age. Viewed from this perspective, Major Kusanagi's body can be better understood less as a reflection of "real" women than as an embodiment of our anxieties on the loss of self and interiority in the SNS-dominated society. As is warned by many posthumanist and queer critics, queer and posthuman components are too often used to reinforce the human. I argue that the Major's hybrid body is neither a mere amalgam of human and machine nor a superficial postmodern blurring of boundaries. Rather, the compelling combination of individuality, animality, and technology embodied in the Major redefines the human as always, already posthuman. This ethical act of revision-its shifting focus from oppressive humanism to a queer coexistence-evinces the lasting power of GITS.

• (The)Study of the Eastern Classic
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• no.48
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• pp.195-223
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• 2012

Until now, I guess, many scholars misunderstood the characteristic of economic awareness of Yi Hang-no as if it was a modern nationalism or radicalism against Japanese anti-Korean insistences. But I think these opinions are out of historical attitude. So to understand Yi's economic awareness correctly, I think, We should focus on the traditional Confucian thought system at that time. As one method to reach the goal, I focused on the word, Jeong-jeon-je: Oriental equal land system. Yi Hang-no put the importance on Jeong-jeon-je to make utopia he dreamed of. Yi thought Jeong-jeon-je is the basis of equal society and strong state. Also Yi thought a moral society would be achieved by Jeong-jeon-je because the equal land system, so called Jeong-jeon-je provide peasants with equal lands, so it makes peasants stable in economic situation. Especially, Yi Hang-no put importance on that Jeong-jeon-je would raise moral consciousness of people because equal economic condition makes people wealthy, so people would be good men naturally. Yi Hang-no explain it in basis of Insim-Dosim-seol: a theory of two minds bad & good to be. Yi Hang-no thought equal economic condition is the basis of making people moral being. He thought Jeong-jeon-je was a basis of the condition. Reversely, Yi thought Western insists of trade was the beginning of making people fight for individual benefit, so it produces devil selfishness out of human mind. That was the reason that Yi Hang-no opposed the trade with Western Powers. Eventually Yi's assertion of embargo came out of his Insim-Dosim-seol. In this context, Yi's Jeong-jeon-je was insisted as a method to raise human moral consciousness.

• The Journal of Korean Philosophical History
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• no.29
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• pp.33-54
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• 2010

Woodam(愚潭) Jeong Si-han(丁時翰, 1625-1707) played an important role in the formation and development of the Toegye School. This writing explores the way Woodam understood the thought of Toegye(退溪, 1501-1570) as presented in The Book of Four-Seve Demonstration(四七辨證) The 17th century that Woodam lived in was the period in which monism and dualism coexisted. Woodam's understanding of Toegye's thought can be summarized as follows: 1) Woodam followed Toegye's li(理)-qi(氣) defense and his view on the origin of nature and emotion, acknowledging Toegye as the orthodox transmitter of Zhu Xi's teachings, 2) Woodam considered that the difference between the past and the contemporary teachings was simply caused by the difficulty of comprehending the character "li (principle) ". Thus he criticized Yulgok(栗谷, 1536-1584)'s claim that "that which rises is qi (material force), and that which gives rise to qi is li," and followed instead Toegye's views of the entivity, dynamism, and ultimacy of li and its substantial function. Yet, Woodam further developed Toegye's thought and asserted that "in the midst of the marvelous unity of li and qi, li is always dominant and qi is always ancillary." 3) Woodam criticized Yulgok's thought and advocated Toegye's doctrine of the mutual motion of li and qi(理氣互發說), thereby following Toegye's insistence that difference can be observed in sameness and sameness can be observed in difference, that integrative thinking is needed to constructively embrace both analytic and synthetic judgments. In conclusion, Woodam understood profoundly and correctly Toegye's views on the relationship between li and qi and between nature and emotion, and explained them more concretely. In so doing, he endeavored to live the life by the teachings of Toegye.