• Stress
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• v.26 no.4
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• pp.356-364
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• 2018

Background: This study was performed to review the research trends in the treatment of obsessivecompulsive disorder with Morita therapy in China. Methods: We searched articles in the China National Knowledge Infrastructure (CNKI) regarding Morita therapy and "obsessive-compulsive disorder" in medicine and the public health field. And 23 studies were selected and classified. Five before-after comparison studies and 18 randomized controlled trials were performed in patients with obsessive-compulsive disorder in China. Results: Morita therapy and western medicine were used for the treatment of obsessive-compulsive disorder. Most of the studies reported that groups treated with Morita therapy as well as western medicine showed much positive results than those groups treated with western medicine alone. Conclusions: According to this study, Morita therapy for obsessive-compulsive disorder would be an effective and safe intervention. Further clinical studies on the use of Morita therapy in the treatment of obsessive-compulsive disorder should be done in Korea in the near future.

• Maritime Security
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• v.8 no.1
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• pp.1-39
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• 2024

This study started with the awareness that domestic studies on China's maritime gray zone strategy have been following the analysis results of previous studies, and that only principled positions and directions for countermeasures remain at the 'declarative and conceptual' level. In order to overcome the above problems, the author analyzed the maritime gray zone strategy being developed in the South China Sea, East China Sea, and the West Sea and Ieodo areas, recognizing that China is developing a maritime gray area strategy based on the 'three warfare' that constitutes its own strategic culture. As a result of the analysis, it is predicted that China's maritime gray zone strategy will be more aggressive in order to occupy the West Sea and Ieodo in the future. As a concept of our naval response strategy, The author proposed to 'neutralize' the development effect of 'three warfare', the basis of China's maritime gray zone strategy, to stop the gradual change in the phenomenon induced by China, and to continuously pursue 'return' to a maritime order based on norms and rules. In this study, a 'concrete and systemized' countermeasure to implement this was presented.

• KLA journal
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• v.10 no.6
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• pp.20-30
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• 1969

• 월간 기계설비
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• s.86
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• pp.60-65
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• 1997

• Proceedings of the Korean Professional Engineer Association Conference
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• 1992.12a
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• pp.133-136
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• 1992

• The Journal of the Convergence on Culture Technology
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• v.10 no.6
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• pp.533-544
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• 2024

This study aims to analyze North Korea's cognitive warfare capabilities against South Korea based on Russia's reflexive control and China's Three Warfares strategy, and to derive implications thereof. Cognitive warfare, a new form of conflict that aims to distort the enemy's decision-making by influencing their cognitive processes, has gained prominence in recent international disputes. The research findings indicate that North Korea has both the capability and intention to conduct cognitive warfare against South Korea, emulating strategies from Russia and China. This includes various means such as cyber attacks, psychological warfare, and dissemination of false information. To counter these threats, the study proposes several measures: establishing a dedicated national-level organization, enhancing information collection and analysis capabilities, expanding public education on cognitive warfare, developing proactive response strategies, and strengthening international cooperation. This study contributes to raising awareness about the threat of North Korea's cognitive warfare and emphasizes the need for systematic preparedness. It calls for further research on specific countermeasures and the development of relevant policies to effectively address this emerging security challenge in the Korean Peninsula.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.155-180
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• 2019

Samsaebulhoedo(三世佛會圖) at Yongjusa Temple(龍珠寺), regarded as a monumental masterpiece consisting of different elements such as Confucian and Buddhist ideas, palace academy garden and Buddhist artist styles, unique traditional and western painting styles, is one of the representative works that symbolically illustrate the development and innovation of painting in the late Joseon dynasty. However, the absence of painting inscriptions raised persistent controversy over the past half century among researchers as to the matters of estimating its production period, identifying the original author and analyzing style characteristics. In the end, the work failed to gain recognitions commensurate with its historical significance and value. It is the particularly vital issue in that estimating the production period of the existing masterpiece is the beginning of all other discussions. However, this issue has caused the ensuing debates since all details are difficult to be interpreted to a concise form due to a number of different records on painters and mixture of traditional buddhist painting styles used by buddhist painters and innovative western styles used by ordinary painters. Contrary to other ordinary Buddhist paintings, this painting, Samsaebulhoedo, has a praying letter for the royal establishment at the center of the main altar. It should be noted that regarding this painting, its original version-His Royal Highness King, Her Majesty, His Royal Crown Prince主上殿下, 王妃殿下, 世子邸下-was erased and instead added Her Love Majesty慈宮邸下 in front of Her Majesty. This praying letter can be assumed as one of the significant and objective evidence for estimating its production period. The new argument of the late 19th century production focused on this praying letter, and proposed that King Sunjo was then the first-born son when Yongjusa Temple was built in 1790 and it was not until January 1, 1800 that he was ascended to the Crown Prince. In this light, the existing praying letter with the eulogistic title-Crown Prince世子-should be considered revised after his ascension to the throne. Styles and icons bore some resemblance to Samsaebulhoedo at Cheongryongsa Temple or Bongeunsa Temple portrayed by Buddhist painters in the late 19th century. Therefore, the remaining Samsaebulhoedo should be depicted by them in the same period as western styles were introduced in Buddhist painting in later days. Following extensive investigations, praying letters in Buddhist paintings in the late 19th century show that it was usual to record specification such as class, birth date and family name of people during the dynasty at the point of producing Buddhist paintings. It is easy to find that those who passed away decades ago cannot be revised to use eulogistic titles as seen by the praying letters in Samsaebulhoedo at Yongju Temple. As "His Royal Highness King, Her Majesty, His Royal Crown Prince" was generally used around 1790 regardless of the presence of first-born son or Crown Prince, it was rather natural to write the eulogistic title "His Royal Crown Prince" in the praying letter of Samsaebulhoedo. Contrary to ordinary royal hierarchy, Her Love Majesty was placed in front of Her Majesty. Based on this, the praying letter was assumed to be revised since King Jeongjo placed royal status of Hyegyeonggung before the Queen, which was an exceptional case during King Jeongjo's reign, due to unusual relationships among King Jeongjo, Hyegyeonggung and the Queen arising from the death of Crown Prince(思悼世子). At that time, there was a special case of originally writing a formal tripod praying letter, as can be seen from ordinary praying letter in Buddhist paintings, erasing it and adding a special eulogistic title: Her Love Majesty. This indicates that King Jeongjo identified that Hyegyeonggung was erased, and commanded to add it; nevertheless, ceremony leaders of Yongju Temple, built as a palace for holding ceremonies of Hyeonryungwon(顯隆園) are Jeongjo, the son of his father and his wife Hyegyeonggung (Her Love Majesty)(惠慶宮(慈宮)). This revision is believed to be ordered by King Jeongjo on January 17, 1791 when the King paid his first visit to the Hyeonryungwon since the establishment of Hyeonryungwon and Yongju Temple, stopped by Yongju Temple on his way to palace and saw Samsaebulhoedo for the first and last time. As shown above, this letter consisting of special contents and forms can be seen an obvious, objective testament to the original of Samsebulhoedo painted in 1790 when Yongju Temple was built.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.1
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• pp.93-98
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• 2019

Recently, the rise in the housing burden on young couples has led to a serious housing poverty among young people. The number of young people who move into public rental housing is very small because the eligibility for public rental housing is determined based on income, the status of housing subscription, and the size of the household. With this background, the government launched a public rental housing program called Happy Housing Project, which gives young people the priority to move in first. However, the program is facing an obstacle due to the opposition of local residents. The purpose of this paper is to examine whether public rental housing can induce the NIMBY syndrome through conducting a literature review, followed by an analysis of NIMBY syndrome around the currently supplied Happy House development areas, and finally analyzing the household characteristics in order to identify which households were prone to the NIMBY syndrome. To confirm the existence of the NIMBY syndrome, this paper comparatively analyzed the two groups using binary logit analysis. The first group consists of households that are against the Happy House policy, and the second group consists of households that are aware of the Happy House development taking place in their neighborhoods, and are against the development. This study considered the households against the Happy House development in their neighborhoods to have NIMBY tendencies, and focused on comparing the households with NIMBY tendencies with those who do not. To confirm whether the residents around the Happy House neighborhoods have NIMBY tendencies, this paper compared the two groups and confirmed that about 4% of the households have NIMBY tendencies. This paper subsequently analyzed the households with NIMBY tendencies, and found them to have a higher number of children, reside in apartments and reside in owned homes. The volume of the 2018 Happy Housing (35,000 households) is three times higher than that of 2017. The present study aims to analyze the tendency of residents who oppose the construction of Happy Housing so as to derive policy implications for the smooth provision of public rental housing.

• (The)Study of the Eastern Classic
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• no.56
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• pp.171-207
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• 2014

This thesis is to clarify King Jeongjo's perspective on Chunchu and critical mind on Chunchu Study in Joseon through analyzing more than twenty sets of King Jeongjo's Chaekmun: Chunchu (策文:春秋) which are included in Hongjaejeonseo (弘齋全書). Chaekmun covers extensive themes of Chunchu Study such as composition or contents of Chunchu and assessment of Chunchu and three legends, etc. With this Chaekmun, King Jeongjo emphasized importance of the scripture Chunchu as the 'great scripture for governing a nation' and stressed the need of right interpretation and understanding on Chunchu. Along with the Article Chunchu in Gyeongsagangeui in the year of 1793 and 1796, this material presents not only King Jeongjo's perspective on Chunchu and his academic characteristics but also status and major issues of Chunchu Study in Joseon with significant value in history of thoughts.

• MISULJARYO - National Museum of Korea Art Journal
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• v.97
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• pp.14-54
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• 2020

The overall study of Samsaebulhoedo (painting of the Assembly of Buddhas of Three Ages) at Yongjusa Temple has focused on dating it, analyzing the painting style, identifying its painter, and scrutinizing the related documents. However, its greater coherence could be achieved through additional support from empirical evidence and logical consistency. Recent studies on Samsaebulhoedo at Yongjusa Temple that postulate that the painting could have been produced by a monk-painter in the late nineteenth century and that an original version produced in 1790 could have been retouched by a painter in the 1920s using a Western painting style lack such empirical proof and logic. Although King Jeongjo's son was not yet installed as crown prince, the Samsaebulhoedo at Yongjusa Temple contained a conventional written prayer wishing for a long life for the king, queen, and crown prince: "May his majesty the King live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). Later, this phrase was erased using cinnabar and revised to include unusual content in an exceptional order: "May his majesty the King live long / May his highness the King's Affectionate Mother (Jagung) live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 慈宮邸下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). A comprehensive comparison of the formats and contents in written prayers found on late Joseon Buddhist paintings and a careful analysis of royal liturgy during the reign of King Jeongjo reveal Samsaebulhoedo at Yongjusa Temple to be an original version produced at the time of the founding of Yongjusa Temple in 1790. According to a comparative analysis of formats, iconography, styles, aesthetic sensibilities, and techniques found in Buddhist paintings and paintings by Joseon court painters from the eighteenth and nineteenth centuries, Samsaebulhoedo at Yongjusa Temple bears features characteristic of paintings produced around 1790, which corresponds to the result of analysis on the written prayer. Buddhist paintings created up to the early eighteenth century show deities with their sizes determined by their religious status and a two-dimensional conceptual composition based on the traditional perspective of depicting close objects in the lower section and distant objects above. This Samsaebulhoedo, however, systematically places the Buddhist deities within a threedimensional space constructed by applying a linear perspective. Through the extensive employment of chiaroscuro as found in Western painting, it expresses white highlights and shadows, evoking a feeling that the magnificent world of the Buddhas of the Three Ages actually unfolds in front of viewers. Since the inner order of a linear perspective and the outer illusion of chiaroscuro shading are intimately related to each other, it is difficult to believe that the white highlights were a later addition. Moreover, the creative convergence of highly-developed Western painting style and techniques that is on display in this Samsaebulhoedo could only have been achieved by late-Joseon court painters working during the reign of King Jeongjo, including Kim Hongdo, Yi Myeong-gi, and Kim Deuksin. Deungun, the head monk of Yongjusa Temple, wrote Yongjusa sajeok (History of Yongjusa Temple) by compiling the historical records on the temple that had been transmitted since its founding. In Yongjusa sajeok, Deungun recorded that Kim Hongdo painted Samsaebulhoedo as if it were a historical fact. The Joseon royal court's official records, Ilseongnok (Daily Records of the Royal Court and Important Officials) and Suwonbu jiryeong deungnok (Suwon Construction Records), indicate that Kim Hongdo, Yi Myeong-gi, and Kim Deuksin all served as a supervisor (gamdong) for the production of Buddhist paintings. Since within Joseon's hierarchical administrative system it was considered improper to allow court painters of government position to create Buddhist paintings which had previously been produced by monk-painters, they were appointed as gamdong in name only to avoid a political liability. In reality, court painters were ordered to create Buddhist paintings. During their reigns, King Yeongjo and King Jeongjo summoned the literati painters Jo Yeongseok and Kang Sehwang to serve as gamdong for the production of royal portraits and requested that they paint these portraits as well. Thus, the boundary between the concept of supervision and that of painting occasionally blurred. Supervision did not completely preclude painting, and a gamdong could also serve as a painter. In this light, the historical records in Yongjusa sajeok are not inconsistent with those in Ilseongnok, Suwonbu jiryeong deungnok, and a prayer written by Hwang Deok-sun, which was found inside the canopy in Daeungjeon Hall at Yongjusa Temple. These records provided the same content in different forms as required for their purposes and according to the context. This approach to the Samsaebulhoedo at Yongjusa Temple will lead to a more coherent explanation of dating the painting, analyzing its style, identifying its painter, and interpreting the relevant documents based on empirical grounds and logical consistency.