• Sijohaknonchong
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• v.30
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• pp.9-20
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• 2009

The purpose of this study is to consider factors such as one's sight of viewing afar, expressional principles, and basic aesthetic category, which are treated importantly by the poets of the Joseon Dynasty era in appreciating nature. 'Afar' of the viewing afar is actual distance and aesthetic distance at the same time. Viewing afar is to find geographical features, depth, and details of a mountain, seeing the whole nature at a high place. Also, it can make possible escape from the external limitation of nature and get mental superiority and enhancement. Ultimately, viewing afar is to find out everlasting change of the nature and reason of natural creation. One's sight in viewing afar makes an appreciator's mind empty and calm, and it makes chance to harmonize human with nature. Viewing afar is to unite human nature to naturality beyond realistic value, idea, and artificiality. The mind from viewing afar has peacefulness and it is a state of serenity without any secular atmosphere. Viewing afar is an eye for beauty to leap toward an endless free state from narrow sight about objects. It rejects modification and technics in achieving an world of harmony. It means that objects should not be restrained by human's recognition. There are three expressions, which are high, horizontal, and transcendental viewing afar. The aesthetic category and beauty of peaceful mental state are realized by the expressions. The peaceful mental state makes peaceful mind from realistic conflicts and makes us experience a profound reason of nature.

• Journal of the Korean earth science society
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• v.23 no.4
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• pp.324-333
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• 2002

Recent studies have indicated that boys show better scientific achievements compared to those of girls. It is also a general conception that boys would be better than girls in terms of scientific creative performances and potential, although there have been few studies to support the general opinion. As the gifted education in Korea is progressing very rapidly, the importance of understanding the creative characteristics of gifted boys and girls has been increased. In the present study, we have compared and analyzed three different measures of creativity utilizing 135 gifted students (77 boys and 58 girls) to provide an empirical evidence for the different degrees of creative performances between gifted boys and girls. The instruments used to measure diverse aspects of creativity include the Torrance Test of Creativity (TTCT), the Test of Creative Problem-solving and Finding in Science (CPFS), and the Creative Behavioral Checklist in Science(CBCS). The results of the study indicate that girls, rather than boys, showed better creative performances, demonstrating moderately higher average scores on the three creative measures used in the study. The results are in contrast to people's general conception that boys would be more creative than girls. Implications of the study in connection with identification and educational practices for gifted education program have been discussed.

• The korean journal of orthodontics
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• v.38 no.1
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• pp.41-51
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• 2008

Objective: The aim of this study was to compare the initial lateral cephalometric characteristics in two groups of patients: those that had mandibular setback surgery only and those that had mandibular setback surgery with advancement genioplasty. Methods: The lateral cephalograms of thirty-one patients were studied. Twenty-one Class III patients (group A) had only madibular setback surgery Twelve Class III patients (group B) had mandibular setback surgery with advancement genioplasty. Results: Differences between two groups were found in N-Me, ANS-Me, Occlusal Plane angle, Palatal Plane to U1, Mandibular Plane to L1, Mandibular Plane to L6, SN to U1, Sn-Stms, and Pog' projection. Compared to group A, group B showed more linguoversion and extrusion of upper incisors, more extrusion of lower incisors and lower first molar, and more steepness of the occlusal plane. N-Me, ANS-Me, and Sn-Stms were also longer in group B. But Pog' projection was shorter than group A. Conclusion: We conclude that certain initial lateral cephalometric characteristics may help indicate the inclusion of advancement genioplasty when mandibular setback surgery is planned in skeletal Class III patients.

• Korean Journal of Culture and Social Issue
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• v.19 no.4
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• pp.553-576
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• 2013

The purpose of this study was to investigate the impact of retirement stress, character strengths and marital dissatisfaction on depression. Additionally this study examined direct effects and indirect effects of character strengths and marital dissatisfaction. The participant group was composed of 197 retired men living in Daegu and Gyongsangbuk-do. The Retirement Stress Scale (RSS), Character Strengths Test (CST), Korean Marital Satisfaction Inventory (K-MSI), and Center for Epistemology Studies Depression scale (CES-D) were administered to participants. Structural Equation Modeling (SEM) with AMOS was used for the purpose of analysis. The results of the study were as follows. First, an increase in retirement stress was associated with higher levels of depression. Second, hierarchical regression analysis indicated that higher levels of optimism significantly predicted higher depression. Also hierarchical regression analysis indicated that lower levels of appreciation of beauty and excellence without optimism significantly predicted higher depression. Furthermore, increases in marital dissatisfaction were associated with higher levels of depression. Third, the constructed model including both direct effects and indirect effects appeared to fit better than alternative model in explaining relationships between retirement stress and depression. In other words, character strengths and marital dissatisfaction appeared to affect the depression levels of retired men directly and indirectly. To sum up, this study demonstrated that the factors which had an effect on depression in retired men, character strengths and harmonious marital relationships appeared to act as a buffer against depression in retired men. The current results might serve as basic data for psychological well-being programs for retired men. Finally, the limitations and implications of the current study were discussed.

• Journal of the Korean Institute of Illuminating and Electrical Installation Engineers
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• v.23 no.4
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• pp.16-28
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• 2009

Stage art basically builds upon the essence of "seeing," and at the same time, possesses relativity in showing and seeing. Stage lighting uses artificial light to solve the essence of "seeing", which is the foundation of stage art, and coming into the modern age, its role has been enhanced to an important medium for visual expression in stage art, due to the lighting tools that developed at a rapid pace along with the discovery of electricity, as well as the development of optics. Therefore, not only does lighting use a medium known as light in a field of stage art that gives mental and emotional inspiration to the audience, and aesthetically expresses time and space. In other words, stage lighting is a complex function of light engineering (technology and science) and aesthetic sense (feeling and art). This study aims to do research on methods for the visualization of stage space through lighting, mainly focused on dancing. I have studied the basics of stage lighting, its relations with other fields of stage art, and the functions and characteristics of lighting. Results show that lighting could be used to maximize the visualization of dancing and emphasizing the artistic growth of lighting and its ability to aesthetically express and I came to the following conclusions. First, lighting uses the forms and directions of light that various tools are able to produce in order to visualize the space on stage, and can maximally express the image that the work seeks. Second, it is possible to use lighting, through the movement of light, as a visual representation of the configuration of space in dancing works. Third, through the expression of visual and spatial aspects created by light, the work's dramatic catharsis can bring out mental and emotional feelings form the audience. Fourth, lighting can be seen not as a supporting role, but as an original visual design. To conclude, in order for lighting to be freed form the simple function of "lighting up the stage," which a majority of people think is common knowledge, and grow as one area in art, lighting designers must understand the intentions of the choreographer and the work with creativity and artistry they must consider light and color as an aesthetic language in order to heighten the effects of the work and allow it to partake as one element of work creation, so that lighting will be treated as a form of art.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.2
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• pp.1-15
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• 2016

This study aims at the consideration of the usages of traditional waterscape elements, which are difficult to define their concepts and their differences and it has been proceeded mainly with analysis of literature. It elicited various waterscape types by extracting the place names associated with the watersacpe elements from the chapter "Sancheon" of the volumes Gyeongsang-province in "Sinjeung Donggukyeojiseungram", which is a government-compiled geography book in the early period of Joseon Dynasty, and drew the features of each waterscape element by interpreting the dictionary definition and the original text and studying the similar examples. The results of study are drawn as follows. 1. The chapter "Sancheon" includes 22 types of waterscape elements and they are classified by means of locations and water-flow forms: River Landscape, Lake & Pond Landscape, Coast landscape. 2. River landscape maintaining constant natural water-flow constitutes the linear type, related to the class of stream, which includes 'Su(water)', 'Gang(river)', 'Cheon(stream)' and 'Gye(brook)' and the dotty type, created by the nature of trenched meander rivers, which includes 'Tan(beach)', 'Roe(rapids)', 'Pok(waterfall)' and 'Jeo(sandbank)'. 3. Lake & Pond Landscape forming water collected in a certain area constitutes 'Ho(lake)', which is a broad and calm spot created around mid and down stream of river, 'Yeon(pool)', 'Dam(pond)', 'Chu(small pond)', which are naturally created on the water path around mid and down stream of river, 'Ji(pond)', 'Dang(pond)', 'Taek(swamp)', which is collected on a flatland and 'Cheon(spring)', 'Jeong(spring)' which means gushing out naturally. 4. Coast Landscape includes 'Ryang', 'Hang', which are the space between land and an island or islands, 'Got(headland)' which sticks out from the coast into the sea, 'Jeong(sandbank)' which forms sandy beaches and 'Do' which shows high appearance frequency by reflecting the geographical importance of islands. This study comprehended the diversity of traditional waterscape elements and drew the fact that they are the concept reflecting the differentiated locational, scenic and functional features. That way, it understood the aesthetic sense on nature, which ancestors had formed with the interests in natural landscape and the keen observation on it, became the basic idea elucidating the characteristic on Korean traditional gardens, which minimize the artificiality and make nature the subject.