• The Korean Journal of Archival Studies
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• no.65
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• pp.253-319
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• 2020

Hongdong Herstory in an narrative-based archival activities. This Herstory Workshop designed by a facilitator who is using her love for language and storytelling to empower all voices. Herstory Workshop has been opened at winter every year for a month. The place where the workshop opened is located at farming area. Hongdong Herstory Workshop has been the field where the members of the community having a talk together. 20 women have been participated at the Herstory Workshop. Herstory projects have been published every year. This essay is an trial for rearchiving the herstory projects. This essay focused on the narrative function of archives.

• The Mathematical Education
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• v.49 no.2
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• pp.125-148
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• 2010

This study was to find the perception of mathematical & scientific learning of North Korean students who lived in Korea. To understand their perception, three groups as the focus group for clinical interview, consisting of North Korean students, their teaches and their parents, were investigated through narrative description of qualitative method, North Korean students experienced the gap between what they had learned and what they learned in Korea, due to visiting the 3rd country before they came to Korea. So they were in need of well developed instructional instruments based on a precise diagnosis of language ability to help them get over their difficulties. Second, they have difficulties in math & science classes due to differences between curricular and to the differences between the ways of expression of terminologies used in two countries. They expressed that the group work in learning and a great deal of number of problems could be helpful for their needs. Third, the community-service center should be operated in a systematic way to compensate their lack of getting a private education. Fourth, they thought that the supplemental materials should provide some sources that might help them to get over the language barrier and difficulties from the differences, because they depended on them.

• (The) Research of the performance art and culture
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• no.32
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• pp.333-370
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• 2016

This study examines self-reflexive scenes of Changgeuk [창극; Korean classical opera] Seopyenje [서편제]. This show deals with Pansori [판소리; a kind of Korean folk play] and its singers. The uniqueness of this show is that although it is a new creative work of Changgeuk, the traditional Pansori music is used intactly. These characteristics are related to some self-reflexive scenes in the show: the narcissistic reference of Pansori makes to seem that this show inherits a artistry of Pansori; a play within a play and a role-play reinforce a reality on the action and characters of outer play; an intertextuality, bringing the narrative and music of Pansori Simcheong-ga [심청가] in this show, it makes audiences spontaneously discover a connection between the cited original text and the hypertext. Namely, the self-reflexivity of Changgeuk Seopyenje doesn't destroy an illusion, but rather it presents a kind of conservative self-reflexivity which uncovers a part of tricks for the illusion in order to create new illusion.

• 한국노년학
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• v.38 no.3
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• pp.607-625
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• 2018

This study is on mid-seventies female gamblers who went through Korean modern history. The purpose is to analyze interviews on their life of understanding what their true self is, and to redefine gambling. The concept of 'existential self-regulation' was proposed and the materials were acquired through narrative interviews. The materials were then investigated according to Mandelbaum's framework for analysis of which suggests dimension, turning, and adaptation. The self-narrative revealed that the process of being addicted to gambling is as in the following: compensating her emotional deficiency via money and child's education, getting rid of the emotional deficiency via gambling, becoming free from emotional deficiency. The meaning of gambling has shifted to a comfort to existential vacuum, a source of anxiety ruining life, pastime for boring everyday life. Life events that control the impulse to gamble through 'existential self-knowledge' occurred in the second and the third stage. Based on the results, the study suggests mid-seventies female gamblers to write her autobiography, and proposed the necessity of self-examining programs.

• Journal of Korean Theatre Studies Association
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• no.40
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• pp.61-96
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• 2010

This research established that the two characteristics of Femail Gugguek were explored on the character as genre and the nationalism discourse. This research also included how to encounter the characteristic of Female Gugguek as a popular entertainment with the social context at the time and how to re-produce the social ideology. The 'historical nationalism narrative' piercing Female Gugguek had the close relation with the nation/state discourse of the time. The history reproduced by Female Gugguek was not real. It was the imagined past, the history as image. The Female Gugguek was a genre which typically showed how to intermediate fantasy, ideology and narrative. The happy-endings with the victory of male hero, the narrative pattern on overcoming national crisis, the narrative emphasizing the glorious past and the unification of nation, all these were projected the discourse on nationalistic ideology and nation/state-making in 1950's. The Utopian desire of Female Guggeuk imagining the glorious past and strong nation was the fantasy which concealed the contradiction in real life and the national identity damaged by colonial experience, division of territory, governance by U.S. Military Government and the Korean War. The Female Guggeuk was doing well, because it had amusement. Futhermore, imagination of glorious past and strong state/nation of Female Guggeuk satisfied the public's desire of escapism and wish to establish their position and identity in the rapid social-economic changes. However, Female Guggeuk repeatedly produced the never-changing characters, narrative pattern and conservative world-view. Thus, it became regarded as immature and obsolete thing in late 1950's. Female Guggeuk, which kept re-producing the retrogressive image of the past without modern viewpoint and interpretation, was not sensitive about change of time and trend of the people. Consequently, it was pushed out of people's major interest.

• The Journal of the Convergence on Culture Technology
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• v.5 no.3
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• pp.185-190
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• 2019

Historically, the representation of the colonial period has responded closely to the policies and political conditions of the time. The Korean blockbuster , which links the genealogy of Manchuria Western, adopts a safe nationalism frame, upgrading the genre's narrative typology to colorful action and spectacle, including the Japanese army, the Liberation Army, the good and evil, and the confusion of identity. On the other hand, , which deals with the friendship of the poet and the warrior, treats the mental and internal struggles implied by the power of poetry, without resorting to familiar nationalism and heroism. is a thorough genre of rules. If the visual and sensual pleasures of imaginative resilience beyond the bounds of the law are provided within the Rules, inevitably seeks resistance within the colonial empire's legal system. Political, diplomatic, and economic conflicts between Japan and Korea, which have been continuing until recently, reaffirm the framework of nationalism on the screen.

• Journal of Communication Design
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• v.65
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• pp.70-81
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• 2018

From 1949 to 1966, after the new China was established, in order to consolidate newborn regime and erect national image, "proletariat revolutionary education" had become the main way of literary and artistic creation in the new era. In this era, Chinese animation began to produce to form the characteristics of emphasizing the ideological expression and political education from 1949 to1966, but it also made people misunderstand that it was the results of comprehensive containment of Soviet literary thoughts and creative models. In fact, Regardless of the subject matter, narrative, and role, Chinese animations have inherited and developed the ideological characteristics of the "Mun-yi-jae-do" literary view, forming a creative style that is different from the Soviet "dogmatism." The characteristics of "revolutionary hero role", "mythological expression of revolutionary thought" and "unique storytelling narrative mode" in Chinese animation from 1949 to 1966 were the inheritance and development of the "hero role", "mythological story", and "art of storytelling" of the important expression means of traditional art creation after the establishment of the "Mun-yi-jae-do".

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.90-104
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• 2011

This study identified the scenic characteristics in Gugok and symbolism reflected in titles of the scenery of the season in Gugok from a perspective of Sundoism concentrated on Galeun Gugok in Goisan which is influenced most greatly by Sundoism hermit ideas in Korea, along with Seonyudong-Gugok. In addition, it suggested a measure for arrangement and narrative Storyboard of Galeun Gugok structure corresponding with promotion and propagation of Gugok cultural scenes and educational goals. According to analysis and interpretation of the various Gugoks forming Galeun Gugok in terms of their titles, names engraved in surrounding elements and the coherent symbolic meanings of its scenery and place through comparison with secenery of near Seonyudong-Gugok, the result shows that Galeun Gugok comprises wishes for eternal life in the forms of Taoist hermit-related scenery of the season within the range of stream and old stories based on environmental affordance. In figurative way, it ultimately presents the Wonyung(圓融) idea which seeks a harmonious combination of God and humankind. In particular, consciousness of longevity without problems is deeply inherent in the background of eternalness of plants, divinity of animals and natural homeostasis. Also, 9 Gok Seongukam set up at visual terminal reflect noticeably that a game Go is the amusement of the immortals, which describe 9 ranks of GO figuratively. Galeun Gugok is formed in a unity structure, which is hermit-oriented Sundoism and motif, such as longevity and immortality, divinity and enjoyment of Sundoism hermit rather than used as a method to achieve taste for the arts or ethics. Given the fact, it presents eternal longevity and atmosphere of seclusion in very strong way. Development of spatial Storyboard structure based on this is interpreted as 'Entering the world of hermits(Introduction)'-'Looking the world(Development)'-'Living with hermits(Turn)'-'Becoming hermit(Conclusion).' Finally, the scenery image of Galeun Gugok presented in surface structure is based on beauty of the immortal land scenery as well as beauty of pre-achieved space in Gugokdongcheon and arranged the vertical narrative structure as divine space of 9 ranks of GO. Taking those into account, scenery story board of Galeun Gugok was suggested in accordance with a theme of 6 cuts; Gnagsun(降仙)-Sungyeong(仙境)- Sunyak(仙藥)-Sunhak(仙鶴)-Sunyu(仙遊)-Eunsun(隱仙). It is obvious that hermit which live an eternal life as a representative of Sundoism, should be the main motif of scenery planning in a filed of modem landscaping. Therefore, the most valuable component in designing Korean landscape must be the homeostasis of surrounding landscape which supports the characteristics of invariability and divinity of nature.

• Korean Security Journal
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• no.17
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• pp.15-31
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• 2008

This study aims to analysis and measure on the private security for the academic directivity and security industry for the market directivity in Korea. For this study we compare and analysis the curriculum of 15 universities in Korea and the papers which were published on "Korean Security Science Review" that is a report in a professional private security. In conclusion, 269 subjects are used as instructional materials in 15 universities, thus 103 subjects for the private security and 60 for the leisure sports and first-aid treatment, 46 for the social science, 30 for the martial arts and shooting, 16 for the secretary affairs, 14 for the foreign languages. Regarding scientistic papers, 45.7% of papers for the private security of all and 14.6% for the public security, 14.6% for the criminal, and 11.6% for the terror etc. But there are any papers for the facilities guard or security in spite of the facilities guard is pivotal role in this field. The facilities guard or security, or maybe house detective, holds 80.5% of the private security market and it is important role in this industry in Korea. Besides, considering development of private security, the security market makeup the body-guard field hold 12.2%, prevention security system by censor hold 4.1%. So, this statistics show that the facilities guard lead practically the private security industry in this field, but there are any subjects for the education and any research for the paper. Thus some modification on the universities curriculum is required, also needs activity research in the facilities guard field for the development private security.

• Korean Journal of Agricultural and Forest Meteorology
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• v.7 no.4
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• pp.274-281
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• 2005

The climate of the Uisong Area is wet in the heat of summer and cold and dry in winter, The climate is highly consistent. The typical forest soil of the Uisong Area has an acidity of pH 4.5-5.6. The thickness of soil A layers is thin to an average of 10-20 cm and is a typical brown forest soil type. The growth characteristic of this climate and soil environment is as follows. In the case of Larix leptolepis, it takes 5-9 years to reach 6 cm diameter, The annual growth rate falls off greatly at an age of 17-19 years. The change of annual rings is more apparent on the north slopes compared with the east and northeast slopes. Pinus rigida takes 7-9 years to reach a 6 cm diameter. Annual growth rates of Pinus rigida fall greatly when age reaches 19 years. The change of annual ring growth of Pinus rigida was most apparent in the west and northeast slopes compared with the south and east slopes. In the case of Pinus koraiensis, the change of the annual ring width according to the characteristics of the slope is not important. Pinus koraiensis takes 6 yearsto reach the 6cm diameter, and annual growth rate fell off at age 19 years. In the case of Quercus acutissima, the growth of the valley trees is more stable than for trees grown at the mountain base. Annual growth rate of Quercus autissima fell off 19 years after planting. Ring growth of Robinia pseudo-acasia on northeast slopes appears much like that on northwest slopes. In conclusion, the main silviculture species reaches a 6 cm diameter in 5-9 years of growth, and the annual growth rate begins to fall between years 13 and 19 in the Uisong Area.