• Cartoon and Animation Studies
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• s.43
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• pp.285-320
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• 2016

Cartoons and Animation are convergent arts created with a composite application of language arts described in the form of literary texts and sounds, plastic arts visualized in the form of artistic paintings, and film arts produced in the form of moving pictures. An academic university major in cartoons and animation studies established in late 20th century however, did not satisfactorily meet the needs in academic research and development and the free expression of artistic creation was limited. In order to systematize the major in cartoons and animation studies, an convergent approach to establish and clarify following are in demand : the terms and definitions, the historical developments, the research areas and methods, the major education and related jobs and start-ups. New culture and arts industries including cartoons, animation, moving images, and games contents are not yet listed in the industries listing service jointly provided online by the portal site Naver.com and Hyung-Seol publishing company. Above all, cartoons and animation are inseparably related to each other that even if one uses the term separately and independently, the meaning may not be complete. So a new combined term "Animatoon" can be established for the major in cartoons and animation studies and also used for its degree with concentrations of cartoons, animation, moving images, games, and etc. In the Introduction, a new combined term Animatoon is defined and explained the use of this term as the name of the major and degree in cartoons and animation studies. In the body, first, the Historical Developments classified Animatoon in the ancient times, the medieval times, and the modern times and they are analyzed with the help of esthetics and arts using examples of mural frescos, animal painting, religion cartoons, caricatures, cartoons, satire cartoons, comics, animation, 2 or 3 dimensional webtoons, and K-toons. Second, the Research Areas of Animatoon reviewed the theories, genres, artworks, and artists and the Research Methods of Animatoon presented the curriculum that integrated the courses in humanities, science technologies, culture and arts, and etc. Third, the Major Education considered Animatoon education in children, young adults, students of the major and the Related Jobs and Start-Ups explored various jobs relating to personal creation of artwork and collective production of business-oriented artwork. In the Conclusion, the current challenges of Animatoon considered personalization of the artists, specialization of the contents, diversification of the types, and liberalization of the art creation. And the direction of improvement advocated Animatoon to be an academic field of study, to be an art, to be a culture, and to be an industry. The importance of cartoons and animation along with videos and games rose in the 21st century. In order for cartoons and animation to take a leading role, make efforts in studying Animatoon academically and also in developing Animatoon as good contents in the cultural industries.

• Archives of design research
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• v.19 no.1 s.63
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• pp.201-214
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• 2006

Modern society is an age of vagueness and confusion. In addition, vagueness, complexity and variety are seen throughout art including modern philosophy, literature, and environmental design. A phenomenon like this shows that modern society has integrated different components as an organic relationship frequently crossing the boundary of fields. This feature can be regarded as hybrid related with accepting contradictory components and binding them into one under relationship between part and whole. As new design concept, presented are attitude to accept the two instead of attitude to select one of the alternatives, abundance instead of dearness, and ambiguity instead of simplicity. This principle has a crucial influence on creative design providing opposing contradiction and several alternative plans as non-deterministic form not completed one and, above all, useful information in mutual dependence and mutual relationship. When it comes to hybrid, therefore, a strategy is needed to consider layer of several fields getting out of standardizing space into a single space. As an event of this situation and concept, space experience means behaving freely based on experience of users' body. It can be known that this experience brings about users' more dynamic experience in comparison with the experience of seeing environmental design from a viewpoint of visual ism on the existing simplicity. Such a practical experience is subjective, synesthetic, and non-observational one. Therefore, hybrid has brought active users to the stage, which is distinguished from synesthesia felt through body's experience, not through observational attitude and visual space which achieve former balance and harmony with non-determination. That's because hybrid creatures are turning to a product resulted from creative imagination instead of from reappearance which makes text visualized. Such experience performed by user's active participation collapses the boundary between special elite-centered art and daily life and it is the present progressive form showing creation process of future events and new esthetic experience.

• Korean Security Journal
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• no.13
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• pp.145-168
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• 2007

Like to change to the information-oriented society, the guard service needs to be changed. The communication and hardware technology develop rapidly and according to the internet environment change from cable to wireless, modern person can approach every kinds of information service using wireless communication machinery which can be moved such as laptop, computer, PDA, mobile phone and so on, LBS field which presents the needing information and service at anytime, anywhere, and which kinds of device expands it's territory all the more together with the appearance of ubiquitous concept. LBS use the chip in the mobile phone and make to confirm the position of the joining member anytime within several tens centimeters to hundreds meters. LBS can be divided by the service method which use mobile communication base station and apply satellite. Also each service type can be divided by location chase service, public safe service, location based information service and so on, and it is the part which will plan with guard service development. It will be prospected 8.460 hundred million in 2005 years and 16.561 hundred million in 2007 years scale of market. Like this situation, it can be guessed that the guard service has to change rapidly according to the LBS application. Study method chooses documentary review basically, and at first theory method mainly uses the second documentary examination which depends on learned journal and independent volume which published in the inside and the outside of the country, internet searching, other kinds of all study report, statute book, thesis which published at public order research institute of the Regional Police Headquarter, police operation data, data which related with statute, documents and statistical data which depend on private guard company and so on. So the purpose of the study gropes in accordance with the LBS application, and present the problems and improvement method to analyze indirect of manager side of operate guard adaptation service of LBS, government side which has to activate LBS, systematical, operation management, manpower management and education training which related with guard course side which has to study and educate in accordance with application of the new guard service, as well as intents to excellent quality service of guard.

• Economic and Environmental Geology
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• v.48 no.6
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• pp.431-449
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• 2015

The study area is located in the western part of the Precambrian stock type of Sancheong anorthosite complex, the Jirisan province of the Yeongnam massif, in the southern part of the Korean Peninsula. We perform a detailed field geological investigation on the Sancheong anorthosite complex, and report the characteristics of lithofacies, occurrences, foliations, and research formation process and its mechanism of the Sancheong anorthosite complex. The Sancheong anorthosite complex is classified into massive and foliation types of Sancheong anorthosite (SA), Fe-Ti ore body (FTO), and mafic granulite (MG). Foliations are developed in the Sancheong anorthosite complex except the massif type of SA. The foliation type of SA, FTO, MG foliations are magmatic foliations which were formed in a not fully congealed state of SA from a result of the flow of FTO and MG melts and the kinematic interaction of SA blocks, and were continuously produced in the comagmatic differentiation. The Sancheong anorthosite complex is formed as the following sequence: the massive type of SA (a primary fractional crystallization of parental magmas under high pressure)${\rightarrow}$ the foliation type of SA [a secondary fractional crystallization of the plagioclase-rich crystal mushes (anorthositic magmas) primarily differentiated from parental magmas under low pressure]${\rightarrow}$the FTO (an injection by filter pressing of the residual mafic magmas in the last differentiation stage of anorthositic magmas into the not fully congealed SA)${\rightarrow}$the MG (a solidification of the finally residual mafic magmas). It indicates that the massive and foliation types of SA, the FTO, and the MG were not formed from the intrusion and differentiation of magmas which were different from each other in genesis and age but from the multiple fractionation and polybaric crystallization of the coeval and cogenetic magma.

• Cross-Cultural Studies
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• v.48
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• pp.67-106
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• 2017

This study focuses on two specific history of Korean literature in Chinese: the outline of The History of Joseon Literature (2010) by Li Yan and The History of Joseon Literature (1988, 2008) by Wei Xu-sheng; it was conducted to compare narrative viewpoints to the history of South and North Korean literature and therefore identify distinguishable characteristics. As a result, the following was concluded. First, The History of Korean Literature by Cho Dong-il and The History of Korean Literature in North Korea (15 volumes) include thorough discussions on division of historical eras, concept of genres as well as individual literary works and applied such discussions on writing literary history. However, Wei Xu-sheng and Li Yan's The History of Korean Literature did not illuminate theoretical discussion of South and North Korea. Li Yan's outline of The History of Joseon Literature was published in 2010 and the first edition of Wei Xu-sheng's The History of Joseon Literature was published in 1986 and later was published as revised editions in 2000 and 2008. Regarding published dates, it is a matter of course to reference Cho Dong-il's The History of Korean Literature, published in the 1980s, or The History of Korean Literature in North Korea (15 volumes), published in the 1990s; nevertheless, neither Wei Xu-sheng nor Li Yan used those texts in their works. Their works were heavily influenced by the narrative tradition of the history of national literature and therefore, entailed unsophisticated discussion on the division of historical eras or the concept of genres. Second, those two texts also emphasized external factors such as politics, society, economy and culture and explicitly mention these factors in historical overview of each chapter. Such an approach is commonly used in narratives of literary history under socialist regimes, including The History of Korean Literature in North Korea (15 volumes). Accordingly, evaluations based on 'political standards' - stress of people, nationality, practicality and so forth - in main texts are particularly accentuated, akin to narratives of literary history under socialist regimes. Finally, since those two Korean literature history works are written by Chinese scholars, they focus on correlation between Chinese literature history and Korean literature history. However, several genre-related terminologies such as Xiaopin (a kind of essay), Yuefu (a kind of popular song/poem), Yuyan (fable), Shuochang (telling of popular stories with the interspersal songs), Shizhuan (biography or/and memoirs in history) were adopted directly from Chinese literature. In analyzing Korean literature using terminologies introduced from Chinese literature, differences between original and alternative definitions were not examined in detail. While some terminologies and concepts were adopted directly without further consideration as to state of the two nations, it is also interesting to note that dichotomy, mainly used in Korean literature history, was used to discuss the genre of Cheonki (romance tale), relevant to Suyichon and Keumosinhua, rather than follow traditions of Chinese literature history.

• 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.

• MISULJARYO - National Museum of Korea Art Journal
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• v.97
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• pp.69-86
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• 2020

Haenghaeng Ilgi (Diary of a Royal Trip) (koo 7152; hereafter Ilgi) in the collection of the National Museum of Korea provides an account of Crown Prince Sado's incognito royal visit to Pyeongyang in the fourth month of 1761. Ilgi was written by Ham Daeil, a low-ranking military officer in Pyeongyang. Ham was singled out for praise by Crown Prince Sado (1735-1762) and served the prince from the seventh day of the fourth month to the first day of the fifth month. Ilgi documented the deeds of Crown Prince Sado during this period and provides detailed information on his incognito visit to Pyeongyang, which was not officially recorded. Ilgi shows characteristics differentiating it from many other diaries. For example, the quality of the paper, neat handwriting, and well-organized sentences differ from those of common diaries. These distinctions indicate that Ilgi is closer to an official document than a private diary written by an individual. Since Ilgi records Crown Prince Sado's incognito visit to Pyeongyang, is only vaguely known otherwise, its contents need to be examined in terms of whether or not they are fully factual. As the first step in such verification, It is traced that Ham Daeil's family history which turned out to match what is written in Ilgi. Moreover, Ilgi mentions about Prince Crown Sado's writing a piece of calligraphy, and a matching piece of calligraphy written by Sado still survives today. It can be confirmed that the contents of Ilgi are factual in at least these regards. However, although Crown Prince Sado was known to have met people from various social classes during his visit to Pyeongyang, Ilgi focuses only on Crown Prince Sado and Ham Daeil. This suggests the possibility that the surviving version of Ilgi may be an edited condensation based on original texts containing more complete information on Crown Prince Sado's visit. Ilgi is presumed to have been produced during the generation of Ham Jeonghui, a son of Ham Daeil. The dates of birth and death of Ham Daeil fall during the reign of King Yeongjo. It is unlikely that any records regarding Crown Prince Sado would have been published while King Yeongjo, who was hostile to Sado, ruled the country. Ilgi also provides strong evidence that Ham Jeonghui presented the subsequent king, King Jeongjo, with the calligraphy by Crown Prince Sado and the diary. It is unclear if the book Ham Jeonghui presented him was the same as the extant version of Ilgi. Nonetheless, considering the situation at the time when King Jeongjo was pursuing several projects to honor his father Sado, it is highly probable that Ilgi was produced during the reign of King Jeongjo. The periods of presenting the calligraphy and the diary respectively overlapped with the production of Hyeollyungwon, the royal tomb of Crown Prince Sado, and Sado's sixtieth birthday. Therefore, is it considered reasonable that Ham Jeonghui produced Ilgi to promote his own social ambitions.

• Korean Journal of Heritage: History & Science
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• v.56 no.3
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• pp.62-74
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• 2023

Much attention has been focused on the Baekpoman area due to the archaeological achievements of the past, but studies on prehistoric times when villages began to form is insufficient, and the Bronze Age village landscape was examined in order to supplement this. In the area of Baekpo Bay, the natural geographical limit connected to the inland was culturally confirmed by the distribution density of dolmens, and the generality of the Bronze Age settlement was confirmed with the Hwangsan-ri settlement. Bunto Village in Hwangsan-ri represents a farming-based village in the Baekpo Bay area, and the residential group and the tomb group are located on the same hill, and it is composed of three individual residential groups, and the village landscape had attached buildings used as warehouses and storage facilities. In the area of Baekpo Bay, it spread in the Tamjin River basin and the Yeongsan River basin where Songgukri culture and dolmen culture were integrated, and the density distribution of the villages was considered to correspond to the distribution density of dolmens. In order to examine the landscape of village distribution, the classification of Sochon-Jungchon-Daechon was applied, and it was classified as Sochon, a sub-unit constituting the village, in that the number of settlements constituting the village in the Bronze Age was mostly less than five. There are numerical differences between Jungchon and Daechon, and the distribution pattern does not necessarily coincide with the hierarchy. The three individual residential groups of Bunto Village in Hwangsan-ri are Jungchon composed of complex communities of blood relatives with each family community, and a stabilized village landscape was created in the Gusancheon area. In the area of Baekpo Bay, Bronze Age villages formed a landscape in which small villages were scattered around the rivers and formed a single-layered relationship. Dolmens (tombs) were formed between the villages and villages, and seem to have coexisted. Sochondeul is a family community based on agriculture, and it is believed that self-sufficient stabilized rural villages that live by acquiring various wild resources in rivers, mountains, and the sea formed a landscape.

• Journal of Global Scholars of Marketing Science
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• v.2
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• pp.17-37
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• 1998

중소기업간 협력 활동은 사업의 전체 혹은 일정 부분에 대하여 분업이나 협업의 관계를 맺는 공동사업의 형태로 나타난다. 기업간 연결의 강도에 따라 기업들간에 형성되는 분업과 협업의 관계를 시장형, 중간조직형, 위계조직형으로 구분할 때, 중소기업간 공동사업은 중간조직형에 속하는 일종의 기업간 네트워크라고 볼 수 있다. 물론 네트워크형의 협력관계를 추진하는 방식도 업무제휴, 지분제휴, 합작투자, 컨소시엄 등으로 다양하다. 그러나 완전한 자본적 통합에 따른 위계적 조직과는 달리 참여기업들이 독립성을 유지하면서, 네트워크 밖의 기업에 대해 경쟁우위를 확보하기 위해 형성한다는 공통점을 가지고 있다. 기업간 협력관계를 통해 참여 기업들이 얻을 수 있는 혜택에 관한 기존연구들은 크게 두 가지로 나누어 볼 수 있다. 하나는 기업의 생산함수를 중심으로 그 이점을 파악하는 것이고 다른 하나는 관계의 종류에 따라 기업간 거래관계를 관리하는 소위 거래비용의 효율성을 중심으로 혜택을 파악하는 접근방법이다. 전자의 접근방법을 따를 때, 기업간 협력의 근본 유인은 규모의 경제(혹은 비경제), 범위의 경제, 집적의 경제, 구도의 경제 등이 협력관계에서 발생하는 혜택의 근본 원천이다. 기술과 제도의 발전, 시장과 경쟁환경의 변화에 따른 기업간 협력의 필요성은 갈수록 증대되고 있다. 소비자들의 요구는 매우 개성화 다양화되고 종합화되는 추세이다. 더불어 기술개발의 비용이 큰 폭으로 증가하고 있으며, 경쟁의 격화로 기술 및 제품의 진부화도 급속도로 이루어지고 있다. 세계화 상품고도화 서비스산업화 정보화 등으로 특징지워지는 새로운 경쟁환경 아래에서 장기적으로 기업의 경쟁력을 향상시키기 위해서는 시장중심적인 관점에서 형성된 기업간 전략적 연계를 바탕으로, 정보의 집적을 통해 다양한 생산성 향상 혹은 관계효율성 향상의 경제를 추구하는 것이 필연적 전제 조건이 되었다. 기업간 경쟁보다는 최종제품의 생산과 판매를 위해 형성된 기업네트워크간의 경쟁이 중시되는 시대인 것이다. 동서간(東西間) 중소기업(中小企業)의 협력(協力)을 새삼스럽게 논의하는 것은 다분히 정치적이라는 느낌을 준다. 경제적인 관점에서 실익이 있음에도 불구하고 동서간 중소기업의 협력이 이루어지지 못하고 있다면, 그 이유는 기업정보의 수집과 유통상의 문제이거나 문화나 기업관행에 대한 잘못된 선입관에서 비롯된 관계 관리비용 계산상의 문제일 것이다. 현실적으로 이 가능성은 매우 낮다. 산업의 발전 정도나 연관성에 있어서 동서축보다는 남북축을 따라 기업간 협력이 이루어질 수 밖에 없는 우리나라의 현재 상황이 동서간보다는 남북간 경제교류를 유도하고 있는 것이다. 동서간 중서기업 협력체제의 구축에 대한 논의가 본질적으로 정치적 관심에서 비롯되었다는 전제 하에, 구축의 방안을 논의하고자 한다. 경제적으로도 타당하면서 정치적으로 관심을 유발할 수 있는 협력체제 구축방안으로, 기업간 네트워크의 조직 주체로서 최근에 논의되고 있는 새로운 형태의 마케팅회사를 동서간에 공동으로 설립할 것을 제안한다. 영구 지속적 공동사업관계보다는 프로젝트별 공동사업을 전제로 기업들 사이의 효과적인 네트워크를 형성함으로써 일종의 가상적 기업을 결성할 필요가 있다. 이러한 기업간 네트워크 형성의 실행주체가 될 수 있는 새로운 마케팅 전문기업의 형태로는 공동회사(空洞會社)(hollow company), 종합상사(綜合商社)(General Trading Company), 거래형 마케팅회사(Marketing Exchange Company), 변환형 마케팅회사(Marketing Coalition Company) 등을 들 수 있다. 양 지역에서는 소비자환경과 기술환경의 특성 및 양 지역의 경제에 대한 파급효과를 고려하여 가장 적합한 마케팅회사의 유형은 선택하여 육성하고, 이를 중심으로 강력한 양 지역 및 다른 지역에 입지한 기업간의 네트워크를 구축하여야 한다. 마케팅회사를 설립하고 완전한 마케팅 서비스를 제공할 수 있도록 육성하기 위해서는 많은 투자가 필요하다. 마케팅회사의 핵심기능 분야인 금융부문, 정보부문, 영업조직 등은 모두 막대한 투자를 필요로하는 기능영역이다. 정보부문은 기술의 발전과 범세계적인 정보관련기관과의 제휴를 통해 독자적인 구축이 어느 정도 가능하나, 영업조직의 구축을 위해서는 기존업체와의 연대가 필수적인 것으로 판단된다. 지속적으로 효과적인 기업간 네트워크를 형성하고 유지하기 위해서는 또한 기업간 관계를 관리하는 방식과 제도 및 수단에 대한 연구가 필요하다. 양 지역 산 학 관의 공동노력을 통해서 새로운 경제 환경에 가장 적합한 기업 형태로 제시된 바 있는 마케팅 전문회사 중심의 기업간 네트워크를 성공적으로 구축한다면, 양 지역 및 국가 경제의 지속적인 동력원이 될 수 있을 것이다

• Journal of Korea Entertainment Industry Association
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• v.14 no.4
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• pp.187-198
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• 2020

With the cultural background of whiteness I did examine the universal meaning of absolute good, the special of psychosis, and the fantastic of femininity and memory/record. As an example I analyzed the symbolic meaning of white used in Korean films. Unconditional goodness, white as a generality: White color in all the films of good-evil confrontation falls into this category. The most obvious and the simplest configuration are the black-white dichotomy. In Nameless Gangster: Rules of Time(2011), The Merciless(2016), Asura: The City of Madness(2016) and The Bad Guys: Reign of Chaos(2019), white is the absolute good but it is not limited to a fair key figure. Paradoxically, black is not given only to the side of absolute evil. White is used to be a flexible visual device that reflects the socio-political situation without changing the meaning of the general good. Psychosis and pills, white as a peculiarity: The visual function that emphasizes sado-masochism in the absolute good and the universal symbol of white extends to psychotic specificities such as hysteria. In all the films creating horror, white symbolizes the mentally disabled and the pill for healing. Femininity and haunted white: White of absolute good is expressed by the socio-cultural tendency of femininity and the black-white contrast of vision is applied to the gender difference. In general the women's sexuality is emphasized in color red, but white is arranged in the background. In TaeGukGi: Brotherhood Of War(2004), 71: Into The Fire(2010), My Way(2011), The Front Line(2011), Roaring Currents(2014), Northern Limit Line(2015), The Battle: Roar to Victory(2019) and Battle of Jangsari(2019), white given to female figures sticks to the traditional femininity such as motherhood, sacrifice and weakness. The concept of specters is applied to desires, memories/records, history, fantasy, virtual/reality and social media images. The film history capturing to list memories and moments brings up the specters of socio-political genealogy. Most of films aiming for socio-political change are its examples and white constituting Mise-en-scene records to remember a historical event in Peppermint Candy(2000), The Attorney(2013) and A Taxi Driver(2017).