• Journal of Bio-Environment Control
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• v.31 no.4
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• pp.343-355
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• 2022

This study investigated the consumption tendency and awareness of paprika in order to expand and promote the consumption of Capsicum annuum L. The research investigated the relationship of preference and loyalty based on emotional response of paprika according to the semantic differential scale. The survey was conducted from January to February 2022 using a random sampling method targeting 155 general people, and a total of 142 questionnaires were analyzed excluding 13 wrong answers. The nine items on the awareness of paprika showed to be consisted of three factors such as 'Food taste', 'Usability', and 'Economics' by factor analysis. Regarding to the awareness of paprika the positive answer that 'I think paprika is good for health' among the nine questions was the highest at 92.3%. In the preference aspect of shape, blocky type had the highest preference for the shape of paprika, followed by mini and conical types in order of preference (p < 0.001). As for color preference, yellow paprika was the most preferred, followed by orange, red, and green, showing statistical significance. The emotional response of paprika by paprika image showed a statistically significant difference in the four colors. The words such as 'bright', 'clean', and 'spirited' appeared as representative emotional vocabulary for paprika. Multiple regression analysis was performed to examine the effect of paprika on the three factors of awareness, preference, and loyalty due to the quality of life. As a result, the higher the paprika preference and quality of life, and the higher the taste and availability factors, the higher the paprika awareness and loyalty. As the variable that has the most influence on the loyalty of the survey respondents, preference was found to have the highest explanatory power at 43%. From these results, it was judged as a very important factor in the survey on the shape and color preference of paprika. Therefore, the recent increase in awareness that paprika is good for health is thought to act as a positive factor in revitalizing the domestic market and increasing consumption of paprika in the future. Also, among the three types of paprika, the yellow blunt type showed the highest preference. Therefore, in order to produce and promote this type of paprika, it is also important to increase the cultivation to suit the purchasing propensity of consumers.

• Journal of The Korean Association For Science Education
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• v.41 no.6
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• pp.483-499
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• 2021

The curriculum localization policy is closely related to the decentralization and autonomy policy, which is a direction of the 2022 revised curriculum. In particular, considering the continuously expanding and changing environment and contents in science education, the localization of the science curriculum has the advantage of advancing to expertise through diversity. In this paper, through experts' perception of the science curriculum localization policy, the implications of the curriculum revision were confirmed, focusing on 'MPOE(Metropolitan and Provincial Offices of Education) curriculum arrangement and implementation guidelines(hereinafter referred to as 'guidelines')' and the achievement standards revision of science curriculum. In conclusion, study participants considered that the possibility of expanding the localization of the curriculum was high due to the unique characteristics of science practices. And they recognized the level of localization at the 'district office of education or village'-level between MPOE-level and school-level. When localization reaches the school-level in the future, it was considered necessary to discuss linkage with teacher policies such as teacher's competency, noting that the level of teachers could become the level of localization. In addition, there was a common perception that in order for the science 'guidelines' to be localized, 17 MPOE must be given the authority to autonomously organize some achievement standards in parallel. It was considered that 'restructuring or slimming of achievement standards' should precede localization of achievement standards in connection with this. On the other hand, it was predicted that the curriculum localization policy would enhance the aspect of diversification and autonomy of the science curriculum, and the establishment of achievement standards was directly related to evaluation, so it recognized the need to refine policies such as new description for evaluation clause in future science 'guidelines'. Finally, considering science and characteristics, it was mentioned that it is necessary to specify regional intensive science education policies in the 'guidelines' themselves beyond the localization of teaching materials.

• Journal of the Korean Society of Floral Art and Design
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• no.45
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• pp.77-95
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• 2021

This study considers the problem of reality that our floral art has to overcome as a loss of the floral art spirit caused by the expansion of Western-centered formalism flower culture, and considers the discussion on the deformality of distancing and the free spirit of nomadism. The floral art, which works on the creator's aesthetic mental world through flowers, is an art of mental image that values the free mental world of the creator. It also refers to the importance of artist consciousness as an art of self-imago that makes the target world beyond the "expression of similarity" that reproduces the target world. In this context, the lack of concern about the identity of Korean floral art appears to be the creative training and work of Korean floral artists who are biased toward Western expression techniques and creative methods. It also expresses a problem with our cultural consciousness, which is dominated by the Western flower culture of flower design. Here, we are obliged to understand the reality of Korean floral art biased by Western flower design and to organize discussions to solve the problem. Therefore, this study examines the problems that our floral art has to overcome as part of seeking the identity of Korean floral art and enhancing the cultural value of Korean floral art through criticism of Western cultural acceptance. This is a historical consideration of the nature of Korean floral art to recover, while also a process of identifying the meaning of the free creative spirit that the artist should maintain as an aesthetic art. Furthermore, such criticism of the Korean floral art culture and discussion of introspection are expected to serve as an opportunity to further expand the academic discourse system for the floral art while embodying the "identity" of Korean floral art.

• Journal of the Daesoon Academy of Sciences
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• v.27
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• pp.245-282
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• 2016

Currently, the whole world is being swept away by spiritual movements seeking divinity in oneself. Yet there are terror attacks, religious disputes and other conflicts continuously taking place on larger and larger scales as well as expanding further and further throughout the world. Interreligious harmony seems like a distant ideal. What is the ultimate cause of religious conflicts? Is interreligious communication truly that difficult? Even among different cultures, said cultures' varieties of ritual expressions, and various religious doctrines, there are points of general common to be appreciated if a deep perspective is adopted. When we find the common ground and understand each other's difference, it will be easier to communicate since everyone will be learning from each other. What could serve as common ground for different religions? Many scholars speak about the state of 'oneness' that is claimed by mysticism throughout a large array of religions. This state of oneness is typically not achieved overnight, but it serves as a prospective state which is pluralistically inclusive. This "religion of enlightenment" emphasizes the process of reaching comprehensive interreligious agreement would be characterized by a deep religious perspective. If superficial religious perspectives focuses only on faith to attain blessings and engage in blind belief, then, by contrast, deep religious perspectives emphasize inner divinity, the true self, orthe higher self. The words, 'superficial religious perspective' and 'deep religious perspective' were defined for personal convenience by O Gang-nam, a scholar of comparative religion. Consequently, this classification is a relative binary concept lacking hard and fast rules with regards to distinctions. But the concept of superficial religious perspectives and deep religious perspectives has its advantage in allowing clearer and easier discussion about religions because it could embrace all aspects of religious life and the development of various religious sentiment. In this way, the terms surface religious perspectives and deep religious perspectives will be used in limited framework. I both borrow this concept and reconsider it by referring to other scholars' methods of classification. From that point, I explore and these views in relation to religious experience. How does religiosity develop, maturity of religious faith take place, deep awareness of truth reveal itself, or an attitude of open-mindedness arise? After these states are realized, is interreligious agreement possible? Most religious studies scholars point out 'religious experience.' They say people could develop their faith from superficial religious beliefs into a more mature and deeper faith through religious experience while continuously aspiring towards enlightenment and practicing their religion in daily life. This study will try to examine aspects of superficial religious perspectives and deep religious perspectives represented in each religion and also explore criticism of each religion. With this view of superficial religious perspectives and deep religious perspectives, some cases documenting the religious experience of Daesoonjinrihoe disciples will be analyzed to see how their religiosity develops from superficial religious perspectives into deep religious perspectives through certain religious experiences. The characteristics of those experiences will also be investigated.

• Journal of the Korean Institute of Landscape Architecture
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• v.51 no.1
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• pp.56-71
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• 2023

Citizens' needs for urban green spaces are on the rise due to improved quality of life and increased interest in environments. The garden is noteworthy because it is small in size, making it less controversial to create in the city, and it is adjacent to the residential area, improving citizens' daily environment. Moreover, recently gardens is attracting attention as a tool for urban regeneration, such as being created in declining areas as part of a government project. Therefore, it is time to study the role and value of urban gardens in deteriorated areas in terms of space welfare. However, there are few studies that quantitatively evaluate the effects of gardens, and many prior studies are limited to focusing the green space larger than a certain size (e.g., parks and forests). Therefore, the aim of this study is to examine the effect of garden and gardening quantitatively, paying attention to social aspects such as life satisfaction and community of inhabitants. The study was conducted in an old row housing complex in Gojan1-dong, Ansan-si, Gyeonggi-do. In there, some of the dwellers voluntarily created outdoor gardens and engaged in gardening for a long time. In addition, after the 2017 Gyeonggi-do Garden Fair, several gardens have been maintained and used by residents there. For the first step, the field trip was done to research the status of the garden in the area, and then, a survey was conducted on whether or not gardening has an impact on the life satisfaction and community of residents. The results were analyzed by t-test and ANOVA. As a result, residents who are engaged in gardening are more active in the "neighborhood exchange" and "resident participation" than those who are not engaged in gardening. In addition, if residents voluntarily create a garden, the level of "satisfaction of life" is higher than those staying in the garden which is constructed by the government. And a resident who is gardening in the complex shows higher life satisfaction than those who garden outside of the complex. These results confirmed that the garden has positive effects promoting "exchanges with neighbors", "participation in the community", and "life satisfaction" of residents. It shows that it is important to ensure the right of residents to participate in the garden-making process as much as possible, and the garden's location should be paid attention to maximize the positive effect of gardens.

• Journal of Korean Port Research
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• v.6 no.2
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• pp.65-92
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• 1992

The Korean central government has not appreciate the full extent of the impact of seaports on the national economy. As a consequence port investment has not been given sufficient priority and capacity has failed to keep pace with demand. The principal reason for this failure is the fact that the linkages (or relationships) of the port transport industry with other sectors have not been quantified and fully appreciated. To overcome this dificiency this paper developed a port input-output model to determine the economic impact of the port industry on the national economy. This impact study was conducted by analysing the impact of the Korean port industry upon the national economy from the macroeconomic viewpoint, and identifying the spreading effects of port investments upon the nation's economy. The analysis of the economic impact of the port industry suggests that its contribution to the Korean economy is substantial. What the model shows is, in quantifiable terms, there are the strong economic linkages between the port industry and the other sectors of the national economy. The contribution of the port industry to the Korean economy was summarised in the Conclusion section.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.361-395
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• 2019

This paper take a media archaeological approach to cinema transformed into a narrative medium during its transitional period, 1903-1915. To accomplish this, I will explore the question of as which narrative medium cinema was imagined and also how it was institutionalized as a narrative medium with authorship. I will explain that the imaginary and real ideas and changes on cinema resonated with each other on the foundation of its technological aspects such as indexicality, 23 frames/sec. and montage. It was during the transitional period that cinema was transformed from a medium representing spectacle to a medium of narration. The establishment of the American film copyright law in 1912 was an institutional, real outcome from the contemporary understanding of cinema as a narrative medium. At the same time, various ideas emerged that led to imagining of cinema as a complete narrative medium, incomparable to any other. From a media archaeological perspective, the imaginary ideas of media resonate with their actual course of development. These imaginary ideas are not just imaginary, but rather reflect the contemporary desire for the medium. This paper looks into the transitional period based on this media archaeological point of view. To this end, this paper will briefly introduce the notion of media archaeology as a media theory and then discuss Eric Kluitenberg's concept of 'an archaeology of imaginary media' and its methodologies. Second, it will explore literary and cinematic imagining of cinema as a powerful medium of storytelling, while discussing the ways in which cinema's technological characteristics played a decisive role in these imaginings. Also to show the techno-deterministic role of cinema in the real world, this paper will explore how its technological characteristics were considered as an important element in the processes through which America's first motion picture copyright was institutionalized in 1912 after two historical copyright cases: one is Edison v. Lubin in 1903 and Kalem v. Harper Brothers in 1909. Ultimately, this paper will lead us to an understanding of the history of cinema as a medium and its developments in more multi-layed way, as communication between the real and imaginary, and give us perspectives toward what cinema is.

• Korea Science and Art Forum
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• v.20
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• pp.315-326
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• 2015

This study has started from a curiosity about how the concept and characteristics of mise en abyme, which is one of meta-discourse in the contemporary aesthetics and has affected every aspect of modern philosophy, art, and culture, are expressed in modern architecture. 'Mise en abyme' is a technique mainly used by writers of the nouveau roman after it was introduced first in the work of novelist Andre Gide; this technique of artistic expression has been extended across the whole contemporary art and has become the meta-discourse which essentially makes its appearance in the art after postmodernism. 'Mise en abyme', meaning endless formation of image between two mirrors, got involved with discourse of the various philosophers of the time such as Deleuze and Derrida, and was also expressed in the language of architecture by modern architects who have been influenced by their philosophy. In this context, the technique of mise en abyme which is mostly used in art has a relation to methods of space expression of architects. This research studied the characteristics of mise en abyme which show in the expressional method of the modern architecture based on the relationship between the technique of mise en abyme and the modern method of architectural expression. Moreover, on the basis of this an analysis was carried out on architectural works of Jean Nouvel, who uses de-materialization and singularity as the architectural language. Through the research it was confirmed that the characteristics of expression of mise en abyme in architecture are embodied in material of the surface which forms buildings' exterior, or expressed by using reflection and graphical factors. Through analysis this study allows the chance to see that even though the means and field for expressing mise en abyme are different, the characteristics of the fundamental concept are shared among them, and to think about the meaning in the technique of mise en abyme as one yardstick to understand modern architecture in modern times with no specific mainstream.

• Korean Journal of Heritage: History & Science
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• v.55 no.4
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• pp.96-116
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• 2022

The Daebodan was an altar, which held a memorial service for emperors of the Ming dynasty. This alter, which was referred to as Hwangdan, was first constructed in 1704. When the Japanese Invasion of Korea commenced in 1592, Shinjong, the emperor of the Ming dynasty, sent reinforcements to Josun to help. This alter was made to repay Shinjong's kindness. Before this, Song-siyeol(宋時烈), Leader of Noron(老論), made a shrine at Hwayangdong to hold memorial services for Shinjong, and after some time, this developed into a national ceremony. Construction of the Daebodan largely changed the backyard of Changdukgung-palace. However considering the construction process, the meaning of the Daebodan was not a big deal. At first, the optimal place for the Daebodan was selected at the site of a inner icehouse. But the inner icehouse could not be transferred to other site due to the circumstances. After all, the Daebodan was constructed at the site of Byeoldaeyeong(別隊營) which was located in the outside of palace. Most of the stones for the new Daebodan were used ones. And the annexe of Byeoldaeyeong was used for Daebodan without any changes being made. The scale of the construction was not particularly grand. After the construction, Sukjong, who made the Daebodan, showed barely any interest in it. But the conception of the Daebodan was back again in the history by Youngjo. He was also not interested in the Daebodan during his early years of ruling time. However, in the 1740's, he started to become interested in the ceremony of Daebodan, and carried out a large-scale reconstruction of the Daebodan. Jegigo(祭器庫) was rebuilt In 1739. And Jaesil(齋室), staying one night before the ceremonial day, was added in 1745. In 1749, the Daebodan was greatly changed by enshrining Uijong and Taejo, emperors of the Ming dynasty. The shape of alter was changed. Moreover this alter was made by newly quarried stones. And several buildings, Junsachung(典祀廳), Jaesaengchung(宰牲廳) and Akgongchung(樂工廳), were added to the site. In 1762, meritorious retainers were enshrined to the Daebodan. After all the Daebodan became an important part of the backyard of Changdukgung-palace. During the reign of Jungjo, the Daebodan also was an important part of backyard of Changdukgung-palace. But significant changes were not made at that time. The only change was the moving of Kyungbonggak(敬奉閣) in 1799. Afterward the Daebodan remained unchanged. The ceremonies at the Daebodan stopped in 1908. And the Daebodan disappeared into the mist of history.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.313-323
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• 2019

For the actors on video, facial expression acting can easily become 'forced facial expression' or 'over-acting'. Also, if self-restraint is emphasized too much, then it becomes 'flat acting' with insufficient emotions. By bringing forth questions in regard to such facial expression acting methods, this study analyzed the facial expression acting of the actors in genre dramas with strong commercial aspects. In conclusion, the facial expression acting methods of the actors in genre dramas were being conducted in a typical way. This means that in visual conventions of video acting, the aesthetic standard has become the important standard in the facial expression acting of the actors. In genre dramas, the emotions of the characters are often revealed in close-up shots. Within the close-up shot, the most important expressive medium in a 'zoomed-in face' is the 'pupil of the eye', and emotions are mostly expressed through the movements of the eye and muscles around it. The second most important expressive medium is the 'mouth'. The differences in the degree of opening and closing the mouth convey diverse emotions along with the expression of the 'eye'. In addition, tensions in the facial muscles greatly hinder the expression of emotions, and the movement of facial muscles must be minimized to prevent excessive wrinkles from forming on the surface of the face. Facial expressions are not completed just with the movement of the muscles. Ultimately, the movement of the muscle is the result of emotions. Facial expression acting takes place after having emotional feelings. For this, the actor needs to go through the process of 'personalization' of a character, such as 'emotional memory', 'concentration' and 'relaxation' which are psychological acting techniques of Stanislavsky. Also, the characteristics of close-up shots that visually reveal the 'inner world' should be recognized. In addition, it was discovered that the facial expression acting is the reaction acting that provides the important point in the unfolding of narratives, and that the method of facial expression and the size of the shots required for the actors are different depending on the roles of main and supporting characters.