• Proceedings of the KSR Conference
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• 2002.10a
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• pp.684-689
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• 2002

This paper represents the life-cycle cost(LCC) of steel bridges which are located on the train-network. Corrosion problems are mainly considered in the steel members such as steel plate girder, box girder, truss and arch. Based on the current value, initial construction cost, maintenance cost and demolition cost are calculated and life-cycle costs are formulated for the several types of bridges. From the comparison on each LCC, an effective painting method is recommended for reducing the LCC of steel bridges. Even though the initial cost of Super Weather Resistance Heavy Duty Paintings (Resin Fluoride) is expensive, because of the long endurance, the LCC of steel bridges painted with Super Weather Resistance Heavy Duty Paintings (Resin Fluoride) is less than that painted with General Heavy Duty (Rubber Chloride).

• Proceedings of the Korean Society for the Gifted Conference
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• 2002.05a
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• pp.51-65
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• 2002

올 3월1일부터 영재교육진흥법이 시행됨에 따라 영재교육이 공교육차원에서 실시되는 전기를 마련하게 되었다. 그간 영재교육에 관해서는 필요성을 공감하면서 부작용을 우려하는 목소리가 있어 왔다. 그렇지만 1996년부터 판별도구 개발 및 영재교육 시행방안에 대한연구를 계속해왔고, 최근 사회의 급격한 변동, 그에 따라 우수인력의 중요성이 강조되면서 작년부터 관계부처간 협의 및 각계의견을 수렴하여 영재교육 추진방향을 정립하게 되었다. 특히 지난해에는 인적자원개발회의(의장: 교육부총리)에서 영재교육 추진방향에 대한 정부차원의 의견을 모으는 한편, 몇 십년 전부터 영재교육을 실시해온 미국을 각 시.도교육청 담당자들과 방문하여 수업현장을 살펴보고, 이스라엘 영재학교 교장을 면담하는 등으로 영재교육을 구체화하는 작업을 추진해 왔다. 이러한 과정을 거쳐 올 4월 10일 인적자원개발회의에 '영재의 조기발굴 및 육성에 관한 2002년도 국가인적자원개발 시행계획'을 보고하고, 5월3일자로 부산과학고를 영재학교로 지정하면서 영재교육은 교육정채그이 한 영역으로 자리잡게 되었다. 여기에서는 현재까지 정립된 국가차원의 영재교육 시행방안에 대한 설명과 함께 앞으로 영재교육이 공교육 제도 안에서 자리잡도록 하기 위한 과제에 대해서 논의하고자 한다.

• Proceedings of the Korea Information Processing Society Conference
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• 2013.11a
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• pp.1248-1251
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• 2013

오늘날 학교는 교육수요자 중심으로 운영되며 정규 교육과정 이외의 교육활동이 많아지고 있다. 이러한 사교육의 증가는 사회적으로 이슈화 되고 있으며 정부나 교육청 같은 공공기관에서 방과후 활동 등 새로운 정책이나 방안을 제시하고 있지만 문제가 해결되지 않고 있다. 이러한 문제를 빅데이터 기술을 활용하여 교육에 앞서 학생들의 관심, 생각, 문제 등을 정보를 추출 및 분석하여 교육의 방향을 제시함으로써 사교육의 감소를 도모하고자 한다. 본 논문에서는 이러한 문제점을 해결하고자 빅데이터를 활용함으로써 교육청에게 학생들의 정보를 통계적으로 제공하여 교육 제도의 올바른 방향으로 정책 할 수 있도록 방안을 제시한다.

• Journal of the Daesoon Academy of Sciences
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• v.17
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• pp.227-237
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• 2004

The concrete, practical orientation of the Chinese toward the aim of communal harmony conditioned their approach toward philosophical differences. Ideological conflicts were seen, not only by the politicians but by the intellectuals themselves, to threaten societal well-being. Harmonious interaction was finally more important to these thinkers than abstract issues of who had arrived at the 'truth'. Perhaps the most obvious illustation of the way the Chinese handled their theoretical conflicts is to be found in mutual accommodation of the three emergent traditions of Chinese culture, Confucianism, Taoism and Buddhism. Beginning in the Han dynasty(206 BC-AD 200), the diverse themes inherited from the competing 'hundred schools' of pre-imperial China were harmonized within Confucianism as it ascended to become the state ideology. The harmony among confucianism, Buddhism and Taoism, traditional philosophical trend in China, is very important research subject at contemporary circumstance. For its cultual influences to surrounding nations, such as Korea, japan and Vietnam etc., are so crucial.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.6
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• pp.66-80
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• 2009

This paper attempts to investigate how the cultural phenomena associated with 'Wuyi-Doga(武夷棹歌)' and 'Wuyi-Gugok (武夷九曲)' was introduced to Joseon. The icon and code of 'Gugok' cultural text which was observed in the process of transmitting the culture through repetition and imitation were examined. With regard to research methodology, an 'analysis and discussion framework' was designed based on the literature review, field survey and the seven textuality criteria proposed by Dressier. Then the textuality of 'Wuyi-Gugok' was analyzed in terms of the dependent relation of text, the relationship between the creator and user, repetition, imitation and the spread process. Since ZhouHee(朱熙)'s 'Wuyi-Doga' and 'Wuyi-Gugok' were introduced to Joseon through literature and paintings, they became a part of the cultural Phenomena with unprecedented popularity. As a result, a great number of imitations can be found. In addition, governors would even take care of political affairs in a scenic mountain valley as described in this literature. Regardless of the writer's intentiot 'Gugok' settled in Joseon as new culture in harmony with Taoism and Sung COnfucianism. In other words, Joseon's Gugok-Wonlim(九曲園林) accepted the nature-appreciation aesthetic consciousness in 'Wuyi-Doga' and 'Wuyi-Gugok' on the basis of Taoism and Sung Confucianism. In terms of the text-based dependent relation only, however, the geographical coherence was somewhat loosened while the Gugok Culture that was dependent on Taoism or elegance in life dominated the internal structure of the textuality. Meantime, the internal factors that dominated the textuality of 'Wdyi-Gugok' were interpreted as 1) 'Aesthetics of Bending, Water Whirls', 2) 'Territoriality Expression Carve letters,' 3) 'Cultural Landscape seeing through the Speculation of Meaning,' 4) 'The Pursuit of Oddness and Presentationism' and 5) 'Transcendental Landscape of Taoism and Topos.'

• Korean Journal of Heritage: History & Science
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• v.46 no.2
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• pp.70-95
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• 2013

The Tejaprabha Buddha painting, located in the Korai Museum in Kyoto, Japan, was made in 1569 when Joseon Dynasty was in his $14^{th}$ year under SeonJo's ruling, and is only one of Tejaprabha Buddha paintings from the early Chosun dynasty. With its well preserved state, the painting allows clear indications of all icons and list of names that were written, and the record region also has minimal deterioration. This Buddhist painting is a GumSeonMyoHwa which is drawn with gold lining on red hemp cloth and has a relatively small dimension of $84.8{\times}66.1cm$. With the Tejaprabha Buddha in the center, the painting has two unidentified Bodhisattvas, Navagrabha, Rahu, Keto, YiSipPalSoo (28 constellation of the eastern philosophy), SipYiGoong (12 zodiacs of the western philosophy), SamDaeYookSung, and BookDooChilSung (the Big Dipper), all of which provide resourceful materials for constellation worshipin the Joseon era. This painting has a crucial representation of the overall Tejaprabha Buddhism - a type of constellation worships - from the early Joseon dynasty. Even though the composition does seem to be affiliated with the paintings from the Koryo dynasty, there are meaningful transformations that reflect changes in content into constellation worship in Joseon dynasty. As a part of the Tejaprabha Buddha, SipIlYo has become a center of the painting, but with reduced guidance and off-centered 'Weolpe (star)', the painting deteriorates the concept of SipIlYo's composition. Furthermore, addition of Taoistic constellation beliefs, such as JaMiSung (The purple Tenuity Emperor of the North Pole), OkHwangDaeChae, and CheonHwangJae, eliminates the clear distinction between Taoistic and Buddhist constellation worships. Unlike the Chinese Tejaprabha Buddha painting, the concept of YiSipPalSoo (28 constellation of eastern philosophy) in this painting clearly reflects Korean CheonMoonDo's approach to constellation which can be applied to its uniqueness of the constellation worships. The fact that the Big Dipper and ChilWonSungKoon (Buddha of the Root Destiny Stars of the Northern and central Dipper) are simultaneously drawn can also be interpreted as the increase in importance of the constellation worship at the time as well.

• Korean Journal of Heritage: History & Science
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• v.37
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• pp.121-150
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• 2004

As genre of Buddhist paintings that express generally mountains and waters, there are Eight Scenes from Life of the Buddha(八相圖), Eternal Life Painting(甘露圖), Avalokitesvara Painting(觀音菩薩圖) includes Sixteen Lohans painting(十六羅漢圖), and Hermit Painting(獨聖圖), or Mountain God Painting(山神圖) which is especially appeared in late Chosun Period. These Buddhist paintings had various backgrounds including mountains and waters, the tradition of Water Ink Painting still remains after 18th century, however the trends got complicated to express various landscapes including splendid color, waters and mountains, and it appeared to have historical trend with introduction of factors of Minhwa(民畵) so called in 19th century. Sixteen Lohans painting painted from late 19th to early 20th century, still contains the traditional factors in terms of describing background among above trends, however the main factors of expressing the background are different from other Buddhist painting which reflects historical art trends in colors and its materials by drawing various background distinctively. That is, Sixteen Lohans painting is distinct at describing the background of blue & green colored mountains and waters that is appeared in trend of Minhwa(民畵) and the royal which were popular at that time It also shows broad acceptance with introduction of new background expressions such as Sipjangsang(十長生, Picture of 10 different things of Sun, Mountain, Water, Stone, Cloud, Pine, Plant of eternal youth, tortoise, Crane, and deer to hope the eternal life) Unryoung(雲龍, Dragon Cloud), Mangho(猛虎, Wild Tiger), Gweseck(怪石, Oddly shaped stone), Hwajo(花鳥, Flowers and Birds), Chaekgoeri(冊巨里, The books and bookshaves). In terms of its materials, positive representations of eternal life, wealth and luck were mainly appeared, this is closely related with Self-Search of Buddhist which was the trend at that time that Buddhist turned into the popularized religion in Chosun Period, especially the cooperation of popular belief with Taoism. This is appeared on various Taoists that is expressed in Buddhist paintings of Sixteen Lohans painting at that time. It would provide some clauses to infer the painted years of existing Minhwa at the fixed type of folk story paintings appeared on Sixteen Lohans painting painted mainly from late 19th to early 20th Century. There is also a possibility of the active participation of Buddhist painters(佛畵僧) as painters of Minhwa by request and demands from common people. Inquiry into factors of folk story paintings among Buddhist paintings started from similarity of the materials and shapes, however it doesn't seem to have dramatically expressed comic or exceptional techniques. But, the fact that there are similar types of decorative pictures in the Royal Court rather seemed to be possible for Buddhist paintings to have functions as religion.

• The Journal of Korean Philosophical History
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• no.43
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• pp.9-32
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• 2014

Until now, the studies researching the Taoism theories of Joseon Dynasty have mainly dealt around the latter half of Joseon Dynasty. The reason for that was because the 5 cribs of a book Lao Tzu and the 2 crib of a book Changzi were produced after the Imjin-Year Korean-Japanese War(壬辰倭亂,Imjin Waeran). Therefore this thesis extracted the mentions about Taoism from about 200-year history records from Jeong Do-Jeon's Theory, which was the theoretical foundation for early days of Joseon's foundation and the history book King Taejong's Annals(太宗實錄) contained in The Annals of Joseon Dynasty(朝鮮王朝實 錄) and analyzed the extracted historic data as the first work contemplating how the Taoism theories were developed during the first half of Joseon Dynasty. From the analysis, this study drew out the findings as follows. Jeong Do-Jeon and Gwon Geun sharply criticized the Taoism for that it pursued for the techniques of longevity for oneself without moral. They tried to establish the identity of neo-Confucianism on the foundation criticizing the Taoism and the Buddhism. Since then, the Taoism was transformed through the 3 stages in The Annals of Joseon Dynasty. The first stage was the stage transformed 'Lao Tzu' as the witchcraft master of long-live, the technique of the taoist hermit and the super god in Taoism, and regarded the Taoism as heresy and excluded the Taoism. Second stage was the stage trying to see the book Lao Tzu as the core of Taoism theory separately from the 'Hermit Witchcraft' and the 'Taoist gods' the target of fortune-pursue religion beyond from the primary discussion of exclusion. Third stage was revealed as the respects on the art of politics and the art of living described in the book Lao Tzu. That is, the Taoism theories in the first half of Joseon Dynasty was developed with various spectrums from the early days of Joseon's foundation to 15~16 centuries beyond Joseon's strong suppression against the Taoism and the Buddhism in early days. That is the point that the Taoism in the first half of Joseon Dynasty can't be simply interpreted in the neo-Confucianism. During the firs half of Joseon Dynasty, the warm attitude toward the Taoism was created differently from the attitude against suppressing it as a cult, which had been created in the early days of Josen's foundation, and there appeared the changes accepting the art of living and the art of politics theoretically integrating with the Confucianism theories. That is, the book 'Lao Tus' became accepted as the Confucian country's arts of living and politics from a cult book pursuing for immoral log and immortal life. Such acception is revealed as the appearance actively interpreting the books about Laoism in the latter half o Joseon Dynasty.

• Journal of the Daesoon Academy of Sciences
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• v.27
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• pp.1-34
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• 2016

This paper aims to understand how Daesoonjinrihoe perceives the Later World. Daesoonjinrihoe supports to establish an earthly paradise through the re-creation of the real world unlike other religions which tend to relegate ultimate fulfillment to the afterlife. In other words, Daesoonjinrihoe endeavors to achieve their objectives in the human world rather than outside of it in a potential act of escapism. The new religions in Korea have been characterized by ethnocentrism and doctrines which present Koreans as the new chosen people by emphasizing Korea's crucial role in world leadership. However, the doctrine of Daesoonjinrihoe differ with other new religions of Korea in this regard as its purpose is to redeem the whole world. Daesoonjinrihoe proposes an open embrace of the religious diversity found in Korean society. Daesoonjinrihoe argues that the Later World has not come yet, even though the Former World is over and progress towards the Later World has already been set in motion. The meaning of human nobility is akin to anthropocentricity. According to a variety of myths and legends, animals and supernatural often attempt to become human. Moreover, it would not be an overstatement to assert that the re-creation of the real world and the Daesoon concept of human nobility correspond with these myths and legends. There were not definite interpretations regarding heaven in Confucianism historically, yet Daesoonjinrihoe differentiates clearly that heaven and Sangje are cosmic structures. Buddhism perceives that heaven separately exists as a cosmic structure and that Buddha is a transcendental entity, however; that entity is not accessible for intercession. On the contrary, the ways to save the world have been adduced in Daesoonjinrihoe. In addition, the earthly paradise of the Later World has likewise been introduced. Specifically, it is Sangje that opens the door to that paradise. Unresolved issues in the formation of a world view still persist. There are no shortage of studies on the notion of gods or divine beings, however; most of these studies focus on genealogical classification, forms, functions and other such topics. The concept of god, ghost, or soul does not seem to have been clearly defined in these studies nor has the relationship among these entities and humanity been satisfactorily examined. For example, if human beings become either gods or divine beings, questions regarding divine beings who have acted as protectors or guardians of human beings then arises. The Daesoon cosmology should be specifically compared to cosmology in Daoism. By conducting additional studies such as a comparative research with Daoism, it will be possible to interpret mantras and Daoist art as they appear in Daesoonjinrihoe in a thought-provoking way which can in turn be compared with other religions.

• The Journal of Korean Philosophical History
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• no.29
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• pp.255-280
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• 2010

Zhang Bo-duan compiled about internal alchemy in Taoism. Although he lived in the mundane world, he wished to seek theory on neidan of Taoism(internal alchemy). After finding enlightenment, he elucidated that the enlightenment was a state of rising above world not needed to leave the world. After ages, he was admired as the founder of Taoism in Southern school and his Oh Jin Peon which contents internal alchemy was considered seriously to have more than 30 people who annotated with it until Ch'ing Empire. At his age of 80, he met the real person who gave him theory on neidan of Taoism(internal alchemy), its preface tells that he organized its main point, and then wrote Oh Jin Peon with it in 1075. Generally Zhang Bo-duan was known to leave three books as Oh Jin Peon, Guem Dan Sa Baek Ja, and Cheung Hwa Bi Mun, most of critics have been studying on the basis of them. However, it is not correct whether all of them is his writings and there is not exact analysis but simple belief about it. I think accuracy and details are indispensible in philosophical approach. The study not having verification about primary data is no more than a visionary projet which soon collapses. So the purpose of this study is adding the detail analysis on it and making its exact basis of philosophical approach. Zhang Bo-duan over his age of 80, became enlightened, in his old age handed down his student the secret as a record and theory on neidan of Taoism(internal alchemy). And not in his living but after his dying his status was soared. Because of his high status in internal alchemy Taoism, it seems that there are more interest in it and some published books which just leave his name. In this study, I accept Oh Jin Peon as a his real writing among unsure his writings and criticize systematically and classify its characteristics. And I demonstrate that Guem Dan Sa Baek Ja, Cheung Hwa Bi Mun couldn't be his real writings, these could be forgeries by posterity, with proposing some basis of the argument.