• Korean Journal of Heritage: History & Science
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• v.54 no.2
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• pp.154-169
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• 2021

The establishment of the Bronze Age is one of the most important achievements suggested by Korean archaeology shortly after liberation. There is no doubt that Moo-Byung Yoon is the representative figure, who refuted the ambiguous Eneolithic age (金石倂用期) created by Japanese scholars and settled the concept of the Bronze Age. In this article, the author takes a new look at Yoon's institutional role in studying the Bronze Age in Korea. Until now, Yoon's representative achievement has been his typology of the Slender dagger of the Korean Peninsula. However, it is not less important that Yoon also established the Bronze Age concept with the excavation of a dolmen and a Bronze Age subterranean dwelling in Oksok-ni, Paju during the 1960s. Of course, it was not a personal assignment for Yoon. He was aided by Prof. Kim Won-Yong's work, who had introduced newly excavated materials from North Korea and China; these materials gave some insight for establishing the Bronze Age concepts in the 1960 and 1970s. Kim's suggestion about the possibility of a Korean Bronze Age led to Yoon's refined typological study on Korea's bronze wares. However, Yoon's excessive schematic classification of artifacts and reliance on the Japanese chronology became an obstacle for making the Korean Bronze Age isolated from East Asia. As a result, it is regrettable that his research led to the "cultural lag" phenomenon of Bronze Age research. Meanwhile, Japanese archaeology, which had influenced Yoon, also faced a major change. In 2003, the Japanese archaeological community revised the Yayoi culture's beginning around the 1,000 BC. This means a shift in the perception that we should understand Japan's Bronze Age in the context of the East Asian continent. Of course, it is not appropriate to reevaluate or denigrate Yoon's research from the current view. Rather, it is necessary to recognize the limitations of Yoon's time and present a new path to research by combining the archaeological tradition of refining research on the relics he maintained with a new chronological view and a macro view of East Asian archaeology. This is why we should take a new glimpse into Yoon's research.

• Cartoon and Animation Studies
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• s.38
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• pp.53-70
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• 2015

In industrialized societies throughout the 19th and 20th centuries, Over Produced and Mass consumption images were constantly shown to people via Mass-Media as means to provoke one's desire. Frank Mouris, the American independent animator, captured and showed the infinite nesting of industrialized image with his autobiographical story through his work (1973) and made it as an intense visual flow. This innovative art animation has broke the traditional form of narrative animation and won the Annecy Animation Festival Grand Prix and the Academy Awards in 1974. This was also selected for preservation in the United States National Film Registry by the Library of Congress as being culturally, historically, or aesthetically significant in 1996. This study explores and shows that how these a-half million images to express Franks Mouris's autobiographical story in could be analyzed by the concept of Walter Benjamin's 'dialectical images'. Typically, the term 'dialectic' need to be formed by contradiction or opposite concept in the basic principles, but a dialectical image of Benjamin could be formed without any opposite concept while maintaining the uniqueness of each new relationship of the past. Benjamin's dialectical images are no longer stay in the historical past, It always meets with the present when someone realizes the past in the present moment. I suggest three different aspect according to Benjamin's point of view to analyse this animated film such as 'Historical-dialectical imaging of private/collective memory', 'Reconfiguring of present through analysing the relationship between the image flows and its own time/space', and 'Old future over the existing fragment and the presence of fragment. has the great value not only to present the experimental and innovative aesthetics of animated film, but also to show an analysis of contemporary culture and social aspect in mid-20th century. This study is to explore the diversity of animation representation, aesthetics, and also to suggest a new aspect of animation studies.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.1
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• pp.10-24
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• 2017

The research takes note of the formation process and settling period of Gwandong-Palkyung(關東八景, Eight Sites of Eastern Korea), the representative palgyeong(prominent eight sites) and jipgyeong(集景, landscape collection of scenic beauty), and investigates the time of formation regarding the palkyung and jipgeyong of Gwandong's scenic beauty through the analysis and interpretation of bibliographic data, and reference data. The result of the study is as follows. As the first document that records the terminology of "Gwandong-Palkyung" is "Daphongeunggil(答洪應吉)" of Yi, Hwang(李滉), Gwandong-Palkyung is inferred to be settled within the recognition of the people even before the 16th century. The geographic analysis result including "Sinjeung Donggukyeojiseungram(新增東國輿地勝覽)", Gwandong-Palkyung expanded as Gwandong-Sipkyung in early to middle of the 16th century. The first confirmed landscape collection regarding Gwandong-Palkyung in this study is confirmed in Shin Zup(申楫)'s "Yeonggwandong-Palkyung(詠關東八景)", thus, the terminology of Gwandong-Palkyung existed before 16th century at the latest. The settlement time of current "Palkyung" collection is estimated to be early 17th century at the latest. Poetries regarding Gwandong-Palkyung, and the frequency on the appearance of Gwandong scenic beauties are analyzed as making clear of the concentrated phenomenon on the sceneries of Gwandong-Palkyung. On the other hand, the collection of Gwandong-Palkyung in the domain of arts is confirmed initially in the ${\ll}$Gwandongpalkyungdobyeong(關東八景圖屛)${\gg}$ of Heo, Pil(許泌). Gwandong-Palkyung, expressed as the actual scene landscape painting shows similar tendencies of the conditions in the jipgyeong from the poetry, but the appearance rate of the painting subject was more prominent in visual solidarity and cohesion due to the reflection of the importance on icon(圖像) of the art works produced with particular meaning in the case of fixed ideal system. From late Joseon to modern times, ${\ll}$palpokbyeongpung(八幅屛風)${\gg}$ of various forms of folk painting is a corroborative evidence notifying that the cultural phenomenon of Gwandong-Palkyung has entered the universal period of embrace. Also, the 13 scenic beauties of Gangwon-Do appearing in the games of Namseungdo and Myeongseungyuramdo include Gwandong-Palkyung, which confirms the settlement of Gwandog-Palkyung even within the culture of games in late Joseon. Such results demonstrate the existence of awareness regarding Gwandong-Palkyung from the first half of the 15th century, which is presumed to have completely settled in the 17th century through the continuous development of formative process in the 16th century. Ultimately, Gwandong-Palkyung is the concrete formation of regional scenic beauties that individually gained its reputations as scenery from the Koryo Dynasty to late 17th century. Gwandong-Palkyung of the scenic beauty of Gwandong is a unique cultural scenery of the region that have germinated and formed through the process of cutting and polishing of long time to collect the best eight of scenic beauty from the many participation of sightseeing culture.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.4
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• pp.14-25
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• 2016

This study aims to investigate what flowering plant Jeongjo loved, the attitudes and the reasons, and their implications. The study method was to investigate the contents and meaning in the historical records and to describe their interpretation. Jeongjo's life was consistent with very abstinent life style. His food, clothing and shelter were simple, and he did not show the interests in music, various arts and craft, women, and so on. He did not even show his interest in the flowers and plants of fairyland, beautiful flowers and plants. Jeongjo knew various kinds of flowers, and he was proficient in artistic expressions such as literature or painting with flower material. Due to this kind of attitude, there were few cases to demonstrate his taste on the specific flowering plant. The only one that Jeongjo revealed as his favorite flower was the pomegranate. However, the pomegranate was not the simple flowering plant as the subject of enjoying to Jeongjo. The pomegranate has the meaning of indicator plant to indicate the season of rice farming. Therefore, he made it to be the intermediary to indicate the farming season, which counted a few. Besides, Jeongjo who was threatened by the trials of assassination to him in his early throne period utilized 5,600 pomegranate flowerpots as the barricade of his shelter by arraying them with the type of stone piles in $B{\bar{a}}zh{\grave{e}}nt{\acute{u}}$(八陣圖). The use of Jeongjo's pomegranate flowerpots was not related to the visual utilization like ornament at all, which was very unique case. From multiple records, it was found that the pomegranate was the flower to be with Jeongjo in his period of reign. It is remarkable that the reason why Jeongjo kept pomegranate for a long time like this had the difference from enjoying practice on the ordinary flowering plant. This study has the limitation to be conducted depending on the Korean translated data. Further studies are required according to the translation performance of new historical records.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.4
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• pp.27-39
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• 2011

The study on Musan twelve peaks of Yongho garden in Jinju, Gyeongnam was anticipated to provide data and implication for reproducing similar spaces and modern changes in terms of design factor since it is the prototype of traditional mount for overcoming monotonous geographical features and intriguing changes and interests. The study analyzed and interpreted the symbolism of twelve peaks, principles of space composition and function and effect of visual construction that were pursued by the builder in terms of landscape view, which results are as following. The center of Yongho garden, Yonghoji(龍虎池) is a typical man-made pond for a supportive feng shui feature. It is a supporting equipment to complete the state of feng shui, and the result of strengthening the completion through the connection with the dragon-related name of the place. The shape of Musan twelve peaks looks like an oval form of Geumseongsan(金星山), 2~3.5m in height and 6~12m in diameter. Peaks are estimated as 1.5~3.7m(2.4m in average) in height, $35{\sim}138m^2$($73.4m^2$ in average) in area, and $30.7{\sim}115.0m^3$($62.5m^3$ in average) in volume. Given that Yonghojeong(龍虎亭), Soseon(小船), the site of main building and Yongsanjae(龍山齋) stand in line, Yonghoji was presumed as the state of enlightenment through ascribing the meaning to virtue and secularity. For the intention of realizing Musan twelve peaks, the builder probably had mounted twelve peaks forming the body of dragons with crossing the point corresponding to a head of tiger, and located Musan twelve peaks and Yonghojeong with a representation of dragons holding Cintamani rising into the sky in the center. The middle area near Musan twelve peaks surrounded by peaks like Geumseongsan running north and south shows a multi-structure of multilayer, maintaining the similarity centering on Yonghoji. It is considered the intention of mount planned at the time of Musan twelve peaks construction, caused by similar form harmony. Internalization of progressive realization through concealment and exposure, enframement effect and spatial order like prospect-refuge theory in the mount of Musan twelve peaks is considered the reflection of the intention to increase depth of the view and expectancy through the various degree of exposure and surroundings of each peak and the colorful combination of viewing and shutting. The "closed view" by Musan twelve peaks creates interesting, vivid and attractive recognition of the view, which is more effective in bringing depth of the view and interests in terms of the geographical design, particularly the area around Yonghoji. Moreover, it was identified that the combination of peaks can be formed resulted from the view configuration concerning the location through multilayer effect reveals an island through the other one when viewed from Yonghojeong.

• Korean Journal of Heritage: History & Science
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• v.54 no.1
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• pp.138-163
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• 2021

The Buyeo Wangheungsa Temple was excavated 15 times by the Buyeo National Research Institute of Cultural Heritage by 2015. In doing this, it was confirmed that the attached buildings were placed in the east and west along with the central Sangharama building. Various building sites were established in the western section of the temple, and various buildings were placed inside, and this pattern was estimated in the eastern section. In this article, the structure and function of the attached buildings of the Wangheungsa Temple were focused on the planar structure and excavated artifacts. The most distinctive feature of the attached buildings of the Wangheungsa Temple is their construction alongside the central Sangharama building. It is different from the building to the Neungsan-ri Temple, which was expanded gradually. The attached buildings in the east and west of the lecture hall are presumed to be living space for monks who used solitary rooms, and the attached buildings in the east and west of the main hall were a combination of public work space used for things such as administration, ceremonies, and reception. Next, looking at the outer space of the central Sangharama, the western section was likely constructed at the same time as the central Sangharama. However, if you look at the building site inside the western section, the function has been changed in two stages. The first stage was a ritual space, and it is evident that the western section has a separate entrance and sidewalk and that the workshop was used as a monastery space in the second stage. Finally, there is a distinct possibility that the eastern part of the complex was an important section. Although this space is presumed to be composed of triple towers and halls, it must be have been approached in various ways and included structures related to the operation of temples, such as the monastery space. From this point on, the overall appearance of Baekje temples can be recovered through access to temple structures in a wide variety of ways, including studies of the attached buildings.

• Journal of Korean Elementary Science Education
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• v.41 no.4
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• pp.658-672
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• 2022

The unique teaching and learning difficulties of speed-related units in elementary school science are mainly due to the student's lack of mathematical thinking ability and procedural knowledge on speed measurement, and curriculums and textbooks must be constructed with these in mind. To identify the implications of composing a new science curriculum and relevant textbooks, this study reviewed the structure and contents of the speed-related units of three curriculums from the 2007 revised curriculum to the 2015 revised curriculum and the resulting textbooks and examined their relevance in light of the literature. Results showed that the current content carries the risk of making students calculate only the speed of an object through a mechanical algorithm by memorization rather than grasp the multifaceted relation between traveled distance, duration time, and speed. Findings also highlighted the need to reorganize the curriculum and textbooks to offer students the opportunity to learn the meaning of speed step-by-step by visualizing materials such as double number lines and dealing with simple numbers that are easy to calculate and understand intuitively. In addition, this paper discussed the urgency of improving inquiry performance such as process skills by observing and measuring an actual object's movement, displaying it as a graph, and interpreting it rather than conducting data interpretation through investigation. Lastly, although the current curriculum and textbooks emphasize the connection with daily life in their application aspects, they also deal with dynamics-related content somewhat differently from kinematics, which is the main learning content of the unit. Hence, it is necessary to reorganize the contents focusing on cases related to speed so that students can grasp the concept of speed and use it in their everyday lives. With regard to the new curriculum and textbooks, this study proposes that students be provided the opportunity to systematically and deeply study core topics rather than exclude content that is difficult to learn and challenging to teach so that students realize the value of science and enjoy learning it.