• Title/Summary/Keyword: 비유조선

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역사속 과학인물 - 지구설 옹호하다 26세로 요절한 과학자 조선조 남극관(1689~1714년)

  • Park, Seong-Ra
    • The Science & Technology
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    • v.35 no.8 s.399
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    • pp.40-42
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    • 2002
  • 조선조에 지구설을 옹호하다 26세로 요절한 청년 과학자 남극관은 '동창이 밝았느냐...'라는 유명한 시조를 남긴 남구만의 손자이다. 그는 자신이 쓴 글모임 "몽예집"에서 지구를 공중에 매단 달걀에 비유하면서 당시 지구설을 반대하던 많은 학자들을 비판한 청년과학자였다.

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A Structural Equation Modeling of Internalizing Problem Behaviors of Korean Chinese'left-behind'Children in China (중국 조선족 유수아동의 내재화 문제행동에 관한 구조모형)

  • Hyun, Mina;Park, Jisun;Shin, Dong-Myeon
    • 한국사회정책
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    • v.24 no.1
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    • pp.153-185
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    • 2017
  • The purpose of this study is to investigate the actual conditions and causes of the problem behaviors of Korean Chinese'left-behind'children in China in order to propose a support system to prevent problem behaviors of them. For this purpose, a questionnaire survey was conducted on 399 children who attend at three Korean Chines schools in Yonbian in China. The questionnaire consisted of general characteristics, internalizing problem behavior, social support, self-esteem, and self-resilience. This paper analysed the survey data by employing one-way ANOVA and a structural equation modeling. It verified if there is significant difference in internalizing problem behaviour, self-esteem, self-resilience, and social support between left-behind children's group and non left-behind children's group. It also identified a structural causal relationship and direct or indirect effects among problematic behaviour, self-esteem, self-resilience, and social support. The results of the analysis are as follows. First, there was a statistically significant difference in the social withdrawal and depression of internalizing problem behaviors between left-behind children's group and non left-behind children's group. Second, the left-behind children's group showed no significant difference in self-resilience and social support compared to non left-behind children's group, but showed a significant difference in self-esteem. In the positive self- esteem factor, non left-behind children's group showed much higher score whereas left-behind children's group was higher in the negative self-esteem factor. Third, social support for left-behind children's group has a statistically significant direct negative effect on internalizing problem behaviors, and indirectly negative effects on problem behavior through self-resilience. These results suggest the necessity of establishing a social support system for mitigating and preventing problem behaviors and the necessity of preparing measures to improve self-resilience. Based on the results of the study, we discussed how to establish a social support system in China to mitigate internalizing problem behaviors of Korean Chinese left-behind children.

A Study on the Indexing Editorial Cartoons (신문만화 색인에 관한 연구)

  • 이지영;이나니
    • Proceedings of the Korean Society for Information Management Conference
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    • 1998.08a
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    • pp.215-218
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    • 1998
  • 신문만화는 신문에 실린 기사중 가장 핵심적인 내용을 간략한 그림으로 함축하여 정보를 전달한다. 그러나 만화의 함축성과 비유, 짤막한 텍스트 때문에 객관적인 색인어의 추출이 어려운 것이 사실이다. 본 연구에서는 신문만화에서 키워드를 추출하기 위하여 만화의 내용과 관련이 있는 신문기사에서 색인어를 추출하는 방안에 대해 논하였다. 연구에서는 조선일보에 게재된 한컷만화과 네컷만화를 각 1점씩 예로 들어 비주제색인어와 주제색인어를 부여하였다. 특히 주제색인어는 내용상의 연관성이 있는 신문기사를 선정하여 추출하였다.

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A Study of Premodern Korean Proses with Lice as a Subject Matter: Their Story Developments (이[슬(蝨)]를 소재로 한 고전산문의 전개양상 고찰)

  • Jo, sang-woo
    • (The)Study of the Eastern Classic
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    • no.34
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    • pp.113-132
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    • 2009
  • The present paper considers lice described in some premodern Korean proses, focused on the implications of lice and the literary strategies adopted by the writers in dealing with this unique subject matter. The works reviewed in this process are "A Story of the Louse and the Dog" by Lee Gyu-bo (Goryeo Dynasty), "The Old Man's Vindication of Lice" by Gwak Yeol (Early Joseon), "A Small Realization" by Yu Sin-hwan (Late Joseon) and "Miscellany" by Heo Jeon (Late Joseon). In these premodern essays, an allegory of lice was used to disclose various kinds of prejudices that people generally had: against things small (in "A Story of the Louse and the Dog"), against the old (in "The Old Man's Vindication of Lice"), against the dichotomous idea of right and wrong (in "A Small Realization") and against various aspects of life (in "Miscellany").

A Review on the Background of Takjok(濯足; Washing Feet) and the Landscape Architectual Meaning of Its Cultural Phenomenon - Focused on Takjokjiyu(濯足之遊) Shown on Poetry, Prose, and Painting - (탁족(濯足)의 배경과 그 문화현상에 담긴 조경적 의미 - 시문과 그림에 나타난 탁족지유(濯足之遊)를 중심으로 -)

  • Rho, Jae-Hyun;Seo, Hyo-Seog;Choi, Jong-Hee
    • Journal of the Korean Institute of Landscape Architecture
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    • v.41 no.6
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    • pp.72-83
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    • 2013
  • This study suggests the necessity of landscaping alternatives for the succession of Takjok(濯足) culture by considering the background and meaning of Takjok's cultural phenomenon shown in old literatures and paintings and its result is as follows. An old idiom, 'Takyoung Takjok(濯纓濯足)' implying a disinterested living attitude from the mundane world and an attitude complying with nature, has been sublimated to 'Takjokjiyu(濯足之遊)' which means living in comfortable retirement through life in seclusion(隱逸). Classical scholars immerse their feet in soft-flowing(柔軟) water for 'Mulailche(物我一體; synchronized with nature)' which is a unified condition with 'Do(道; truth)' and connected to the stage of 'Yu(遊)', a free mental state, and its nature. The cultural phenomenon of Takjok appeared in the inherited landscape paintings in the Joseon dynasty period after the late stage of Koryo. Takjok shown in 'Pal Kyung Shi'(八景詩; poetry singing for the eight scenary) was described as not a transcendent scene, but as a scenery of daily life. Dense forest and water, such as a stream with clean water, rocks, and pine trees shown in Takjok paintings have been symbolized as a seclusion space for classical scholars with higher thinking and their mental states have been more emerged. Mental pleasures called as seclusion and Takjokjiyu have been relatively emphasized in the Takjok paintings of the Joseon Dynasty period contrary to the Chinese Takjok paintings emphasizing Chung Gye(淸溪; clean stream) and Chang Rang(滄浪; high and clean wave) and strongly representing the image of 'Chung Ryu'(淸流; clean flowing water) and the veneration for antiquity. The view of nature described in the Takjok paintings represents the provision of nature as a situation and attitudes of classical scholars and implies a Taoism perspective which describes the 'do' of nature. This view of nature itself remained intact(無爲自然) with the love of mountains and water, showing a side of the zeitgeist and aesthetic consciousness of China and Joseon. The 'Takjokjiyu' of both countries has be interpreted as a symbol of personality development, behavior, life in seclusion, or transcending the mundane world and has also been accepted as a method of summer vacation in the real world. It should be considered that Takjok includes ordinary people's wisdom to resist the hot weather, as well as the classical scholar's ideal and the veneration of antiquity. From this perspective, water space, Takjok rocks, and the use of water based on the environmental supportability should be newly focused as a recreational space and it reminds us that the spirit of Takjok is a classical mental healing method.

Reimagining "A Picturesque Landscape" - The Borrowed Scenery of the Byungsan Neo-Confucian Academy, Korea, and its Heuristic Instrumentality - ("그림 같은 풍경"의 재해석 - 병산서원 차경 설계의 수양론(修養論)적 해석 -)

  • Lee, Kyung-Kuhn
    • Journal of the Korean Institute of Landscape Architecture
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    • v.50 no.6
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    • pp.15-29
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    • 2022
  • The Byungsan Neo-Confucian Academy, a 17th-century World Heritage Site in Korea, is being praised as a manifestation of naturalness or non-artificiality of the traditional Korean borrowed scenery technique (借景, chagyeong). This study, however, aims to reinterpret the chagyeong of the Byungsan Academy (hereafter the Academy) as a device of illusion evoking an idealized vision of nature. In the process of interpretation, 'picture and frame'-a widely accepted expression that represents the chagyeong of the Academy-will be foregrounded as the pivotal concept mediating the change of perspectives from naturalistic to ideological. This study consists of the following three parts. First, it shows that 'picture and frame' represent a modern way of seeing the Academy as an architectural heritage in harmony with nature; it denotes pristine nature and the empty architectural frame that safely circumscribes the innate beauty of the natural landscape. Second, departing from the naturalistic perspective, this study argues that the architectural framework of the Academy composes scenography enticing the viewer to imagine the idealized, Confucian image of nature that compares to the landscape imagery found in the landscape poetry and paintings that were produced and appreciated by the 17th-century Confucian literati. Lastly, based on the above interpretation, this study stresses that the 'picture' one encountered at the Academy in the 17th century was not the framed scene of a natural landscape but the illusion it caused; the architectural 'frame' worked not as a symbol of naturalness but as an institutional apparatus of vision manipulating the way one sees-and therefore imagines-the landscape.

Liu Yi and Hong Jung Ha's Kai Fang Shu (유익(劉益)과 홍정하(洪正夏)의 개방술(開方術))

  • Hong, Sung-Sa;Hong, Young-Hee;Kim, Young-Wook
    • Journal for History of Mathematics
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    • v.24 no.1
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    • pp.1-13
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    • 2011
  • In Tian mu bi lei cheng chu jie fa(田畝比類乘除捷法) of Yang Hui suan fa(楊輝算法)), Yang Hui annotated detailed comments on the method to find roots of quadratic equations given by Liu Yi in his Yi gu gen yuan(議古根源) which gave a great influence on Chosun Mathematics. In this paper, we show that 'Zeng cheng kai fang fa'(增乘開方法) evolved from a process of binomial expansions of $(y+{\alpha})^n$ which is independent from the synthetic divisions. We also show that extending the results given by Liu Yi-Yang Hui and those in Suan xue qi meng(算學啓蒙), Chosun mathematican Hong Jung Ha(洪正夏) elucidated perfectly the 'Zeng cheng kai fang fa' as the present synthetic divisions in his Gu il jib(九一集).

Space Organization and Landscape Culture on Upper-class's House('Sauidang') in Late Period of the Joseon (조선 후기 상류주택 사의당(四宜堂)의 공간체계와 조경문화)

  • Shin, Sang-Sup
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.29 no.2
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    • pp.19-27
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    • 2011
  • By studying 'Sauidangzi' written by Honggyungmo(1774~1851), this paper shows on the location, the space organization, and the landscape culture of 'Sauidang' which was upper class's house in late period of the Joseon. Sauidang was the residence of about 530 kan(about $1,750m^2$) which was given to Jeongmyunggongju(daughter of Sunzo) by Injo when she married with Hongjuwon, located at the good place where Mt. Mokmyuk, Mt. Dobong, Mt. Inwang, and Janwon peak are harmonized all together. The residence was on the foothill of Mt. Mokmyuk, facing to the northeast. The main house was facing to the east with the inner and back yards, and the separate house(Sauidang) was facing to the west with the garden, and a vegetable field was set in the outer yard where is connected with a main road where willow trees were lined up, 'Sauidang' was called as "the garden of princess", and a stair-shaped flower garden was made to the south, and one could look down the Hanyang castle as a whole. In the garden, there were trees and house plants enriching one's mind to wish an eternal life with oddly shaped stones or flowers, and symbolizing a fairly land. There were 38 types of trees that were planted either on the ground or in pots as various bundles like 1 tree, 2 trees, 3 trees, 4 trees, 5 trees, 8 trees, and 9 trees. Taehosuk, oddly shaped stones, stone panels, stone pillars, jade panels, sundial, walls and fences, stone stairs, steppingstones, and buildings were set for the landscape. Also, the residence had rare luxuries of landscaping culture like Wangheeji's Nanjungsoogyeseo, Sosik's Cheeongjeongi, Jomangboo's Jeokbyukboo, and Anpyungdaegoon's Behaedangcheop.

Interpretation of Cultural Landscape Elements at the Management of Udam Chae Deug-gi's Gyeongcheondae(擎天臺) (우담 채득기의 경천대 경영에 나타난 문화경관 요소의 해석)

  • Lee, Yoo-Jin;Kim, Soo-Jin;Sim, Woo-Kyung
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.28 no.4
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    • pp.127-143
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    • 2010
  • This research was made on the interpretation of cultural landscape elements which is shown at nature management around Gyeongcheondae managed by Udam Chae Deug-gi, scholar in Joseon dynasty. Naming the nature management and natural features not only reflected on the formation toward the view of nature by the contemporary intellectuals, but influenced on the fashion of garden culture. Udam Chae Deug-gi dwelt in the riverside of Sangju, Kyungbuk as the characteristics of hermitage and managed landscape and had a willing to live a life free from worldly cares. The Gyeongchundae 28 landscapes, which was managed by himself, represent that natural features are named on the basis of neo-confucian principle and loyalty and he imposed symbolic meaning on landscape management by practically translating his aesthetic consciousness to reality; the name of detailed landscape is largely 'loyalty to Ming dynasty and to king's order and loyalty', 'Taoism' and 'Management will of landscape' by the life of metaphor and enjoyment, and symbolizes 'Searching for learning'. In addition, by selecting 10 out of 28 landscapes around Gyeongcheondae, lyrically describing the landscape by representing the change of time, season and the climate which is the scenic term of Great 8 Sosang views in fashion at that time focusing on the place he strolled or enjoyed watching himself; it can be seen that such moves are related with the landscape management in fashion in order to understand microcosmic providence with the change of natural environment. Therefore, Udam Chaedeug-gi is regarded as the neo-confucian view of nature for which any value scholars in Joseon dynasty have to own - 'loyalty' and 'integrity' - he usually emphasized himself to name the natural features and overcome the darkness of society comparing the landscape management around Gyeongchundae he lived a life free from worldly cares to the situation of Joseon dynasty when a transition times between Ming and Chung comes from China.