• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.2
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• pp.60-76
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• 2020

The purpose of this study was to examine the spatial and visual arrangement characteristics of Imsil Yi Ung-jae's old house's spatial and visual aspects in order to discover the value of landscape and traditional house garden. The results of this study are as follows. Dongchon-village in Dundeok-ri, where old house is located, is a typical form of with "Back to the mountain and facing the water(背山臨水)", and is located in the north of the three streams of water, forming a Jeonchaghugwan(前窄後寬). Dongchon Village, which has a traditional scenic spot between Danguidae(丹丘臺) and Samgyeseokmun(三溪石門), is understood to be the main street of Nojeokbong Peak and Gyegwanbong Peak, which is Ansan(案山), where the "A centipede flying in the sky(飛天蜈蚣形)". Yi Ung-jae's old house is the oldest existing high-priced house in the North Jeolla region and the closing price of a royal family of the Joseon Dynasty, which was arranged by Chunseongjeong(春城正), Yi Dam-son(李聃孫) in the mid-16C. The Japanese Invasion of Korea in 1592 and Japanese colonial era, the loyalty of the gate quarters, the filial piety of the gate quarters, and the faithfulness of the tablet(扁額) and Juryeons(柱聯) are enough to contribute to the rise of the value of a physical house. The men's quarters(Sarangchae), which are placed on a high-pocket or a layout without going against the sloping terrain, have the effect of making the distance as far as possible, enhancing its dignity and hierarchy as a royal building. In addition, the entrance to the main quarters(Anchae) through the four pillar gates(四柱門), the extensive support and the appropriation of the Chaewon(vegetable garden), and the official base for the Anchae are very unique compared to the general nobility. However, in the context of the postwar relationship, the shrine seeks to realize Confucian ideals while harmonizing with nature by arranging wide sponsorships around it. On the other hand, it is confirmed that there was a pond in the form of a circle in a square(方池圓島型) with a relatively large area, which is now disturbed and damaged. Written by the high priced planting species are sponsored pine trees, hackberry, persimmon trees, Japanese apricot flower, Ohmomiji, and plum tree in the side garden, as well as cotyledon trees in the outside garden. However, although flower bed(花階), which is built on the stone axis, is a place that clearly shows the expensive garden, it seems to have lost the texture of the plant due to the extremely high variety of species and the splendor that does not match the plant landscape of the flower world. Yi Ung-jae's old house is highly valuable as it is a portrait house of a prince of the blood in the mid-Joseon Dynasty. Based on these findings, this study proposed a plan to improve the management of high prices that could be met.

• Korean Journal of Heritage: History & Science
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• v.47 no.2
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• pp.86-113
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• 2014

This study has researched the characteristics and elements of Chwibyeong (翠屛), a sort of trellis in the Joseon Dynasty through the old documents, and the original form of Chwibyeong at Juhapru (宙合樓) in Changdeuk Palace. The results were as follow. First, as the result of literatures analysis for Imwon-gyeongje-ji (林園經濟志) and Jeungbo-sallim-gyeongje (增補山林經濟), the plant screen was classified as kinds of support[frame] material, plants and methods of planting. It was found that the supports of Chwibyeong were made of bamboo or the material such as the Jinjangmok (眞長木: a stick of oak) and Giryu (杞柳: Salix purpurea var. japonica). The evergreen coniferous trees including Pinus densiflora, Taxus cuspidata and Thuja orientalis were mainly used for the plant material of Chwibyeong. The general planting method of Chwibyeong was to plant on the ground, but sometimes the container planting was also found on the artificial ground. Second, the term of 'Chwibyeong' in the literatures was used in only the screen made by evergreen trees, and the superordinate category term of it was indicated by 'byeong (屛)'. Therefore Chwibyeong was a compound word formed from 'chwi (翠)' which means the characteristics of evergreen and 'byeong' as tree screen which the support was made by bamboo. And Chwibyeong had semantic context which was combined with the literary symbolization to describe a landscape of green peak and Taoist ideology be inherent from 'twelve peaks of Musan[巫山十二峰]' in Sichuan sheng (四川省). Thirdly, the photograph of Chwibyeong at Juhapru taken by the 1880s, showed that Chwibyeong was made with coniferous trees and was almost 2 meters high. The Chwibyeong at Juhapru was removed during the Japanese colonial era, but a few yew trees(Taxus cuspidata) used for Chwibyeong are still remaining. And some Juniperus chinensis which the composition time is unclear, were cultivated while hung loose its branchs at the sides of Eosumun (魚水門). This Junipers were presumed to be planted by Japanese after Japanese annexation of Korea(1910), and it was judged that both of the roofs of Eosumun's side gates might have been transformed into Japanese style at the same time. Lastly, Chwibyeong at Juhapru was restored in 2008 but it was restored in wrong way from original form without precise research. Especially Chwibyeong was restored with Sasa boreralis which is damaged by frost, so it requires exertion that should revive the originals to plant original material as much as possible. And it needs the development of fabrication technique for Chwibyeong and the application to current landscape architecture.

• Korean Journal of Heritage: History & Science
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• v.47 no.2
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• pp.20-31
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• 2014

This thesis aims to how Seo Ye-won(徐禮元) who was the main character of Yukjeollyeo(六節閭) which means tangible cultural properties can receive Jeongnyeo(旌閭) and when he received it clearly. Also this thesis concentrates on why the name of 'Yukjeollyeo' was used even if there are five Jeongnyeos in the Yukjeollyeo. Lastly, this thesis also focuses on the people related to YookJeol. Seo Ye-won passed away with his family in 1593 when he acted as a head of local administration. In that time, the Jinjuseong(晉州城) battle was originated from Korea-Japan war(1592). After his death, Hoengseong(橫城) family(門中) and Confucian scholar made petition for administration in 1811. As a result Seo Ye-won and his wife Lady Lee of the Jeonju-Lee clan(全州李氏) were celebrated as the Jeongnyeo and Jeongyeogak was built in 1817. And his son(Seo Gye-seong:徐繼聖), Seo Gye-seong's wife Lady Noh of the Pungcheon-Noh clan(豊川盧氏), Seo Ye-won's daughter who were not married also could receive Jeongnyeo as Hoengseong family and confucian scholar made additional petition for administration in 1832. For these reasons, Jeongnyeogak(旌閭閣) was called 'Ojeongnyeo(五旌閭)'. After that, Miryang(密陽) family wanted to move it because Seon Ye-won is not the eldest son in the Hoengseoung family. But it could not be enforced and they made a new Yeokak(閭閣) and called 'Yukjeollyeo'. From that time to 1945, the name of Jeongnyeo in the Hoengseong had been still used 'OjeongYeo' and the signboard of Yukjeollyeo was hanged in Jeongnyeo in Hoengseong after 1945. Although there are five people who can get prize of Jeongnyeo, the reason why the name of 'YookJeol' is to memorize the loyalty of Seo Gye-cheol(徐繼哲) who was Seo Ye-won's second son. Hoengseong family made a representation to the government in order to made Seo Gye-cheol receive Jeongnyeo but he could not be celebrated. For these reasons, the loalty of Seo Gye-cheol with five people who received Jeongnyeo has been celebrated as 'YukJeol'. Through this study we could find the record of Yukjeollyeo and historic point clearly.

• Korean Journal of Heritage: History & Science
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• v.43 no.1
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• pp.260-279
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• 2010

The analysis on bibliography and field investigation of Callipogon relictus Semenov, 1898 (Korean natural monument number 218) shows that the size varies from country to country, and Korean specimens, for which male is 85~120mm and female is 65~85mm, are found to be the largest. The average diameter and length of egg are 2.60mm and 6.72mm respectively. The larva has milky color and is about 100~150mm in length. The pupa is nearly 70~110mm. An adult generally appears from June to September in Korea in the broadleaf forest of lowland, whereas it appears from June to July in China. It is known that the pupa largely feed on the old tree trunk of Carpinus laxiflora (Siebold & Zucc.) blume in Korea, but no such data have been reported in China and Russia, showing differences in host plants. While the larva period is not exactly known in Korea, it is reported to be two years in China. It appears that the species inhabits in very limited regions of approximately between geographical latitude $37.5^{\circ}{\sim}47.8^{\circ}$ and longitude $126^{\circ}{\sim}140^{\circ}$ including Korea, China and Russia. To conserve the long-horned beetle in Korea, this research drew out following some conclusions through analyzing the references and field survey data. First, it need to perform precise survey on the natural environment of occurring and collected area or place including host plant kinds, temperate, humidity, latitude, longitude etc. Second, habitat region must be designated as a restricted development area, and it need to exclude or reduce the damage factors to prosper reproduction of the species. Third, it is necessary to keep loosing cautiously artificial breeding individuals in the reported sites, not disturbing scope of natural populations. Fourth, it needs to educate or publicize many people importance and value of this species through many methods.

• Journal of Korean Classical Literature and Education
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• no.39
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• pp.137-180
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• 2018

This article examines the constitutional characteristics of the works in the "Shinbi Apartment" (Mysterious Apartment) series produced by Tooniverse, a domestic animation channel, and considers the meaning of the contents of the ghoststory (鬼神談). The "Shinbi Apartment" series is a horror animation for children. It was produced for the first time in Korea and recorded high ratings. Additionally, it is different from Japanese horror animations that were dubbed and broadcast in Korea in terms of composition and narrative direction, and it succeeds in the form and direction of the traditional Korean ghost story. "Shinbi Apartment - The Secret of Ghost Ball" enriches narrative stories by embracing the structure of the "female ghost story" in traditional ghost stories while following the form of ghosts that suddenly pop up in the daily routines of contemporary ghost stories. The ghost's shape, which has a bizarre and unpredictable aspect, embodies the ghost as the object of fear that modern horror stories intend. However, it does not stop there, but puts the attention on the hero who focuses on the emerging ghost and listens and communicates with it, placing the emphasis of the story on communication, understanding, forgiveness, and reconciliation. The structure and contents of the unique story of "The Secret of Ghost Ball" contribute to the transformation of the ghost into a subject of friendliness and entertainment, not merely as one of shock, fear, and anxiety. Additionally, as the concept of "child" is being created, the custom of modernity, which deals with the story of ghosts in the dimension of teaching and edification, is also manifested in "The Secret of Ghost Ball." In other words, through the figure of the devil, it is to continue the lesson of the story by revealing the adventure, the courage necessary for the "child," and the boundaries for substance and appearance. The "Shinbi Apartment" series has also contributed to the success of ghosts as commercial contents. The structure of the story and its characters have been actively used as educational tools and toys for children. It can be said that ghost culture contributed to this popularization by establishing a base for enjoying ghosts for amusement and entertainment.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.4
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• pp.25-38
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• 2020

For the purpose of recording Folk House Garden, this study was to review the historical value, location, space composition, Placememnt of the Building, garden composition, and management status of Folk House Garden designated as a cultural asset in Jeolla-do and to promote continuous maintenance and preservation in the future and enhance its value. The results of the study are as follows. First, most of them have been influenced by the trend of the times, such as the creation of a modern private garden and the spread of agricultural and commercial development through the garden components influenced by the royal, Japanese, and Western styles. Second, there are differences in the spatial composition of private households and the way they handle sponsorship, depending on the geographical location. When the geographical features were divided into flat and sloping areas, private houses located on flat land were divided into walls, walls were placed around the support area, and flower systems and stone blocks were created. The private houses located on the slope were divided into two to three tiers of space, and the wooden plant, flower bed, and stone bed were naturally connected to the background forest without creating a wall at the rear hill. Third, the size of the house and the elements of the garden have been partially destroyed, damaged, and changed, and if there is a lack of records of the change process, there is a limit to the drawing floor plan. There were many buildings and garden components that were lost or damaged due to changes in the trend and demand of the times, and some of them without records had to rely on the memory of owners and managers. Fourth, the species in Warm Temperate Zone, which reflects the climatic characteristics of Jeolla-do, was produced, and many of the exotic species, not traditional ones, were introduced. Fifth, fine-grained tree management standards are needed to prepare for changes in spatial function and plant species considering modern convenience.

• The Journal of the Convergence on Culture Technology
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• v.7 no.1
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• pp.397-405
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• 2021

With the recent phenomenon of the Intelligence Information Society, the cyber security paradigm has begun to change. In particular, the increase of the interconnectedness of the hyperlinked society has extended the scope of damage that can be caused by cyber threats to the real world. In addition to that, it can also be a risk to any given individual who could accompany a crisis that has to do with public safety or national security. Adolescents who are digital natives are more likely to be exposed to cyber threats, which is mainly due to the fact that they are significantly more involved in cyber activities and they also possess insufficient security comprehension and safety awareness. Therefore, it is necessary to strengthen cyber security capabilities of every young individual, so that they can effectively protect themselves against cyber threats and better manage their cyber activities. It examines the changes of the security paradigm and the necessity for cyber security education, which is in direct accordance to the characteristics of a connected society that further suggests directions and a basic system of cyber security education, through a detailed analysis of the current state of Domestic and Overseas Cyber Security Education. The purpose of this study was to define cybersecurity competencies that are necessary within an intelligent information society, and to propose a regular curriculum for strengthening cybersecurity competencies, through the comparison and meticulous analysis of both domestic and overseas educational systems that are pertinent to cybersecurity competencies. Accordingly, a cybersecurity competency system was constructed, by reflecting C3-Matrix, which is a cyber competency system model of digital citizens. The cybersecurity competency system consists of cyber ethics awareness, cyber ethics behavior, cyber security and cyber safety. In addition to this, based on the basic framework of the cybersecurity competency system, the relevant education that is currently being implemented in the United States, Australia, Japan and Korea were all compared and analyzed. From the insight gained through the analysis, the domestic curriculum was finally presented. The main objective of this new unified understanding, was to create a comprehensive and effective cyber security competency curriculum.

• (The) Research of the performance art and culture
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• no.43
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• pp.293-322
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• 2021

The present study examined the scientific awareness appearing in Korean tokusatsu series by focusing on Vectorman: Warriors of the Earth. As a work representing Korean tokusatsu series, Vectorman: Warriors of the Earth achieved the greatest success among tokusatsu series. This work was released thanks to the continued popularity of Japanese tokusatsu since the mid-1980s and the trend of robot animations. Due to the chronic problems regarding Korean children's programs-the oversupply of imported programs and repeated reruns-the need for domestically produced children's programs has continued to come to the fore. However, as the popularity of Korean animation waned beginning in the mid-1990s, inevitably the burden fr producing animation increased. As a result, Vectorman: Warriors of the Earth was produced as a tokusatsu rather than an animation, and because this was a time when an environment for using special effects technology was being fostered in broadcasting stations, computer visual effects were actively used for the series. The response to the new domestically produced tokusatsu series Vectorman: Warriors of the Earth was explosive. The Vectorman series explained the abilities of cosmic beings by using specific scientific terms such as DNA synthesis, brain cell transformation, and special psychological control device instead of ambiguous words like the scientific technology of space. Although the series is unable to describe in detail about the process and cause, the way it defines technology using concrete terms rather than science fiction shows how scientific imagination is manifesting in specific forms in Korean society. Furthermore, the equal relationship between Vectorman and the aliens shows how the science of space, explained with the scientific terms of earth, is an expression of confidence regarding the advancement of Korean scientific technology which represents earth. However, the female characters fail to gain entry into the domain of science and are portrayed as unscientific beings, revealing limitations in terms of scientific awareness.

• Journal of the Korean Society of Food Culture
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• v.21 no.2
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• pp.225-231
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• 2006

대황(Rhubarb)은 중국과 일본에서 혈액 순환제, 진통제, 신장치료제 등으로 전통적으로 사용되고 있는 약용식물이다. 이 연구에서는 한국산 R. undulatum L.의 뿌리 추출물, 미국산 R. rhabarbarum L.과 중국산 R. palmatum L.의 줄기 추출물의 두부 부패에 관여하는 미생물에 대한 항균 활성을 평가하였다. Rhubarb의 최적 추출을 위해서 각각 50%, 70%, 80% 에탄올을 용매로 사용하였으며, 항균 활성은 Kirby-Bauert test, minimum inhibitory concentration (MIC)과 minimum bactericide concentration (MBC)에 의해서 평가되었다. Kirby-Bauert test 결과, R. undulatum L.의 뿌리 추출물은 대부분 두부 부패균에 대해서 항균 활성을 가지는 것으로 나타났으며, R. rhabarbarum L.의 줄기 추출물의 경우는 $20{\mu}g/disc$의 농도에서는 항균 활성이 거의 나타나질 않았으나, 고농도로 갈수록 높은 항균 활성을 나타내었다. 또한 R. palmatum L.의 줄기 추출물은 고농도로 갈수록 항균 활성이 높아졌으나, Pseudomonas aeruginosa에 관해서는 항균 활성이 나타나지 않았다. MIC와 MBC에 의한 항균 활성 평가실험에서는, 세 종류의 rhubarb 추출물 중에서 phenolic 화합물이 가장 많이 함유되어 있는 R. undulatum L.의 뿌리 추출물보다 R. rhabarbarum L.의 줄기 추출물이 MIC와 MBC 값이 낮았다. 이는 phenolic 화합물의 양 이외에 낮은 pH가 항균 활성에 영향을 준 것으로 판단된다. 본 연구를 통해서 rhubarb 추출물은 두부 부패에 관여하는 미생물에 대해서 항균 활성을 가지는 것으로 나타났으며, 천연 항균제로써 식품에 적용 가능성이 있는 것으로 평가되었다. 87.1%이었으며, 아침을 매일 먹는 채식남학생은 78.8%, 비채식남학생은 33.3%, 채식여학생 47.1%, 비채식여학생 39.6%이었다. 또한 식사의 양은 과식한다는 응답이 채식남학생 24.2%, 비채식남학생 38.1%, 채식여학생은 29.4%, 비채식여학생 40.6%으로 비책식군의 과식율이 높았다. 5. 식품 섭취빈도는 두부 및 콩제품을 매일 섭취하는 경우는 채식남학생 54.6%, 비채식남학생 16.7%, 채식여학생은 38.2%, 비채식여학생이 16.8%이었다. 우유 및 유제품을 매일 섭취하는 경우는 채식남학생 6.1%, 비채식남학생 33.3%, 채식여학생 14.7%, 비채식여학생은 21.8%이었으며, 녹차, 커피 등 차를 마시지 않는다는 비율은 채식남학생 69.7%, 비채식남학생 28.6%, 채식여학생 29.4%, 비채식여학생 25.7%이었다. 인스턴트 식품을 매일 섭취한다는 응답율이 채식남학생 9.1%, 비채식남학생 21.4%, 채식여학생은 17.7%, 비채식여학생은 14.9%이었다. 6. 운동, 체중 조절 등에 대한 조사 결과 항상 운동을 하는 경우는 채식남학생 30.3%, 비채식남학생 28.6%, 채식여학생 14.7%, 비채식여학생 18.8%이었으며 운동시간은 $1{\sim}2$시간 하는 경우는 채식남학생 30.3%, 비채식남학생 38.1%, 채식여학생은 8.8%, 비채식여학생은 17.8%이었다. 체중에 만족하는 정도를 보면 채식남학생 57.6%, 비채식남학생 23.8%, 채식여학생은 23.5%, 비채식여학생은 15.8%가 만족한다고 하였다. 체중 조절 경험에서 경험이 있는 경우가 채식남학생 3.0%, 비채식남학생 31.0%, 채식여학생은 23.5%, 비채식여학생 31.7%이었다. 7. 골밀도 BQI값과와 몇가지 요인의 상관관계를 살펴보았을때, 채식남학생은 영양보충제의 섭취와 유의적인 양의 상관관계를, 해조류의 섭취정도와 유의적인 음의 상관관계를 나타내었다.

• Korean Journal of Heritage: History & Science
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• v.46 no.2
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• pp.186-205
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• 2013

${\ll}$Three Purities Album${\gg}$ in the Kansong Art Museum is an album of poems and pictures of apricot tree, orchids and bamboos drawn by Lee Jeong. Given that the poems and pictures in the album were drawn by Lee Jeong who has been recognized as a person who established the standards of ink bamboo drawings in the Joseon Dynasty, the album is highly valuable. Nevertheless, there are more values and meanings that Three Purities Album has. The production circumstances and transmission processes of Three Purities Album include the historical characteristics and meanings of the time so that it is also worthwhile as a historical material. During the Japanese Invasion of Korea in 1592, Lee Jeong was stabbed with a sword by Japanese invaders and got injured. After he suffered, he tried to make his masterpiece in his lifework and finally created Three Purities Album. For the work, Lee Jeong received memorial writings from Choi Rip, Cha Cheon-ro and Han Ho, and asked them writings. They were the best literary men in the poem and calligraphy fields at that time. Yu Geun, Lee An-nul, and Yu Mong-in made writings and poems to praise his work. Likewise, ${\ll}$Three Purities Album${\gg}$ is the 'treasure of the time' created through the participation of the best literary men at that time. Given the aspects, it is fair to say that ${\ll}$Three Purities Album${\gg}$ is not simply a personal artwork of Lee Jeong, but is a comprehensive artwork and also a cultural monument created through the skills and capabilities of the literary artists in the middle of the Joseon Dynasty. After the death of Lee Jeong, Three Purities Album was handed over to Hong Ju-won. But, during the second Manchu Invasion into Korea in 1636, the album was in danger of disappearance by fire. As of now, there are still signs of fire in it, which vividly shows the urgent situation at that time. After the second Manchu Invasion into Korea in 1636, Hong Ju-won recovered some damaged writings with the help of Yoon Shin-ji. Since then, the album had been handed down as a family treasure over the next 7 generations. It can be found in the writings by Song Si-yeol and Uh Yu-bong. Unlike the literary men who praised Three Purities Album in terms of its work when Lee Joeng was alive, they focused on the transmission courses of the album and involved persons. That seems to be because the stories and characters appearing in Three Purities Album impressed the later literary men and were meaningful to them rather than the album itself. It strongly reflected the positions of Hong Jung-gi and Hung Sang-han who asked for writings as the descendants of Hong Ju-won. That is because the traces of the persons involved in Three Purities Album are the causes for admiring their ancestors and enhancing their political legitimacy and family dignity. Therefore, in this aspect, it is possible to witness the fundamental causes of the unique artistic awareness by East Asian people who consider their historical meanings as well as the aesthetic value of artworks significant. Unfortunately, during the Japanese invasion at the end of the Joseon Dynasty, Three Purities Album was handed over to Japanese Tzuboikouso. But, fortunately, Jeon Hyeong-pil who made an effort to regain our cultural assets by investing his entire property during the Japanese Imperialism regained the album, which is now preserved in the Kansong Art Museum. ${\ll}$Three Purities Album${\gg}$ truly includes the whole processes to overcome national crises that Korean people experienced during the Japanese Invasion in 1592, the second Manchu Invasion of Korea in 1636, and the Japanese Imperialism, and it shows the sufferings of our cultural assets and the history of preservation. Also, the album shows that one artwork is able to accumulate its historical meanings in the process of transmission and thus enhances its meanings and values. ${\ll}$Three Purities Album${\gg}$ features accumulative and constant historical meanings and it is a typical case showing that an artwork is plenty of aesthetic and historical values. It is expected that this work will contribute to promoting more studies on finding historical meanings and hysteresis of artworks.