• Korean Journal of Heritage: History & Science
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• v.37
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• pp.371-405
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• 2004

International circulation of cultural assets involves numerous countries thereby making an approach based on international law essential to resolving this problem. Since the end of the $2^{nd}$ World War, as the value of cultural assets evolved from material value to moral and ethical values, with emphasis on establishing national identities, newly independent nations and former colonial states took issue with ownership of cultural assets which led to the need for international cooperation and statutory provisions for the return of cultural assets. UNESCO's 1954 "Convention for the Protection of Cultural Property in the Event of Armed Conflict" as preparatory measures for the protection of cultural assets, the 1970 "Convention on the Means of Prohibiting and Preventing the Illicit Import and Transfer of Ownership of Cultural Property" to regulate transfer of cultural assets, and the 1995 "Unidroit Convention on Stolen or Illegally Exported Cultural Objects" which required the return of illegally acquired cultural property are examples of international agreements established on illegal transfers of cultural assets. In addition, the UN agency UNESCO established the Division of Cultural Heritage to oversee cultural assets related matters, and the UN since its 1973 resolution 3187, has continued to demonstrate interest in protection of cultural assets. The resolution 3187 affirms the return of cultural assets to the country of origin, advises on preventing illegal transfers of works of art and cultural assets, advises cataloguing cultural assets within the respective countries and, conclusively, recommends becoming a member of UNESCO, composing a forum for international cooperation. Differences in defining cultural assets pose a limitation on international agreements. While the 1954 Convention states that cultural assets are not limited to movable property and includes immovable property, the 1970 Convention's objective of 'Prohibiting and preventing the illicit import, export and transfer of ownership of cultural property' effectively limits the subject to tangible movable cultural property. The 1995 Convention also has tangible movable cultural property as its subject. On this point, the two conventions demonstrate distinction from the 1954 Convention and the 1972 Convention that focuses on immovable cultural property and natural property. The disparity in defining cultural property is due to the object and purpose of the convention and does not reflect an inherent divergence. In the case of Korea, beginning with the 1866 French invasion, 36 years of Japanese colonial rule, military rule and period of economic development caused outflow of numerous cultural assets to foreign countries. Of course, it is neither possible nor necessary to have all of these cultural properties returned, but among those that have significant value in establishing cultural and historical identity or those that have been taken symbolically as a demonstration of occupational rule can cause issues in their return. In these cases, the 1954 Convention and the ratification of the first legislation must be actively considered. In the return of cultural property, if the illicit acquisition is the core issue, it is a simple matter of following the international accords, while if it rises to the level of diplomatic discussions, it will become a political issue. In that case, the country requesting the return must convince the counterpart country. Realizing a response to the earnest need for preventing illicit trading of cultural assets will require extensive national and civic societal efforts in the East Asian area to overcome its current deficiencies. The most effective way to prevent illicit trading of cultural property is rapid circulation of information between Interpol member countries, which will require development of an internet based communication system as well as more effective deployment of legislation to prevent trading of illicitly acquired cultural property, subscription to international conventions and cataloguing collections.

• The Korean Journal of Archival Studies
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• no.29
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• pp.175-223
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• 2011

A university is an organization charged with publicity and has accountability to the community for the operating process. Students account for a majority of members in a university. In universities, numerous creatures are pouring out every year and university students are major producers of these records. However, roles and functions of university students producing enormous amount of records as main agents of universities and focused concentration on produced records have not been made yet. It is reality that from the archival point of view, the importance of produced records of which main agents are university students has been relatively underestimated. In this background, this study attempted approach in archival point of view on records produced by university students, main agents. There are various types of records that university students produce such as records produced in the process of research and teaching as well as records produced in the process of various autonomy activities like clubs, students' associations. This study especially focused on university student autonomy activity process and placed emphasis on accountability securing measures on autonomy activity process of university students. To secure accountability of activities, records management should be based. Therefore, as a way to ensure accountability of unversity students autonomy activity, we tried to present records management systematization and records utilization measures. For this, a student body, a university student autonomy organization was analyzed and a student body of Myongji University Humanities Campus was selected as a specific target. First, to identify records management status, activities and organization and functions of the student body, we conducted an interview with the president of the student body. Through this, we analyzed the activities of the university student body and examined the necessity of accountability accordingly. Also, we derived the types and characteristics of records to be produced at each stage by analyzing the organization and functions of the student body of Myongji University. Like this, after deriving the types of production records according to the necessity, organization and functions of accountability and activities of the student body, we analyzed records management status of the present student body. First, to identify the general process status of activities of the student body, we analyzed activity process by stage of the student body of Myongji University. And we analyzed records management method of the student body and responsibility principal and conducted real condition analysis. Through this analysis, we presented the measures to ensure accountability of a university student body in three categories such as systematization of records management process, establishment of records management infrastructure, accountability guarantee measures. This study discussed accountability on society by analyzing activities and functions of a student body, targeting a student body, an autonomy organization of university students. And as a measure to secure accountability of a student body, we proposed a model for records management environment settlement. But in terms that a student body is an organization operated in one year basis, there is a limit that records management environment is hard to settle. This study pointed out this limit and was to provide clues when more active researches were carried out in the field of student records management in the future through presentation of student body records management model. Also, it is expected that the analysis results derived from this research will have significance in terms of school history arrangement and conservation.

• Journal of Intelligence and Information Systems
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• v.25 no.1
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• pp.163-177
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• 2019

As smartphones are getting widely used, human activity recognition (HAR) tasks for recognizing personal activities of smartphone users with multimodal data have been actively studied recently. The research area is expanding from the recognition of the simple body movement of an individual user to the recognition of low-level behavior and high-level behavior. However, HAR tasks for recognizing interaction behavior with other people, such as whether the user is accompanying or communicating with someone else, have gotten less attention so far. And previous research for recognizing interaction behavior has usually depended on audio, Bluetooth, and Wi-Fi sensors, which are vulnerable to privacy issues and require much time to collect enough data. Whereas physical sensors including accelerometer, magnetic field and gyroscope sensors are less vulnerable to privacy issues and can collect a large amount of data within a short time. In this paper, a method for detecting accompanying status based on deep learning model by only using multimodal physical sensor data, such as an accelerometer, magnetic field and gyroscope, was proposed. The accompanying status was defined as a redefinition of a part of the user interaction behavior, including whether the user is accompanying with an acquaintance at a close distance and the user is actively communicating with the acquaintance. A framework based on convolutional neural networks (CNN) and long short-term memory (LSTM) recurrent networks for classifying accompanying and conversation was proposed. First, a data preprocessing method which consists of time synchronization of multimodal data from different physical sensors, data normalization and sequence data generation was introduced. We applied the nearest interpolation to synchronize the time of collected data from different sensors. Normalization was performed for each x, y, z axis value of the sensor data, and the sequence data was generated according to the sliding window method. Then, the sequence data became the input for CNN, where feature maps representing local dependencies of the original sequence are extracted. The CNN consisted of 3 convolutional layers and did not have a pooling layer to maintain the temporal information of the sequence data. Next, LSTM recurrent networks received the feature maps, learned long-term dependencies from them and extracted features. The LSTM recurrent networks consisted of two layers, each with 128 cells. Finally, the extracted features were used for classification by softmax classifier. The loss function of the model was cross entropy function and the weights of the model were randomly initialized on a normal distribution with an average of 0 and a standard deviation of 0.1. The model was trained using adaptive moment estimation (ADAM) optimization algorithm and the mini batch size was set to 128. We applied dropout to input values of the LSTM recurrent networks to prevent overfitting. The initial learning rate was set to 0.001, and it decreased exponentially by 0.99 at the end of each epoch training. An Android smartphone application was developed and released to collect data. We collected smartphone data for a total of 18 subjects. Using the data, the model classified accompanying and conversation by 98.74% and 98.83% accuracy each. Both the F1 score and accuracy of the model were higher than the F1 score and accuracy of the majority vote classifier, support vector machine, and deep recurrent neural network. In the future research, we will focus on more rigorous multimodal sensor data synchronization methods that minimize the time stamp differences. In addition, we will further study transfer learning method that enables transfer of trained models tailored to the training data to the evaluation data that follows a different distribution. It is expected that a model capable of exhibiting robust recognition performance against changes in data that is not considered in the model learning stage will be obtained.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.104-129
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• 2020

Designated as a national treasure of Korea and inscribed on the UNESCO World Heritage List, the Tripitaka Koreana at Haeinsa Temple is the world's oldest and most comprehensive extant version of the Tripitaka in Hanja script (i.e., Chinese characters). The set consists of 81,352 carved woodblocks, some of which have two or more copies, which are known as "duplicate woodblocks." These duplicates are supplementary woodblocks (bogakpan) that were carved some time after the original production, likely to replace blocks that had been eroded or damaged by repeated printings. According to the most recent survey, the number of supplementary woodblocks is 118, or approximately 0.14% of the total set, which attests to the outstanding preservation of the original woodblocks. Research on the supplementary woodblocks can reveal important details about the preservation and management of the Tripitaka Koreana woodblocks. Most of the supplementary woodblocks were carved during the Joseon period (1392-1910) or Japanese colonial period (1910-1945). Although the details of the woodblocks from the Japanese colonial period have been recorded and organized to a certain extent, no such efforts have been made with regards to the woodblocks from the Joseon period. This paper analyzes the characteristics and production date of the supplementary woodblocks of the Tripitaka Koreana. The sutra with the most supplementary woodblocks is the Maha Prajnaparamita Sutra (Perfection of Transcendental Wisdom), often known as the Heart Sutra. In fact, 76 of the total 118 supplementary woodblocks (64.4%) are for this sutra. Hence, analyses of printed versions of the Maha Prajnaparamita Sutra should illuminate trends in the carving of supplementary woodblocks for the Tripitaka Koreana, including the representative characteristics of different periods. According to analysis of the 76 supplementary woodblocks of the Maha Prajnaparamita Sutra, 23 were carved during the Japanese colonial period: 12 in 1915 and 11 in 1937. The remaining 53 were carved during the Joseon period at three separate times. First, 14 of the woodblocks bear the inscription "carved in the mujin year by Haeji" ("戊辰年更刻海志"). Here, the "mujin year" is estimated to correspond to 1448, or the thirtieth year of the reign of King Sejong. On many of these 14 woodblocks, the name of the person who did the carving is engraved outside the border. One of these names is Seonggyeong, an artisan who is known to have been active in 1446, thus supporting the conclusion that the mujin year corresponds to 1448. The vertical length of these woodblocks (inside the border) is 21 cm, which is about 1 cm shorter than the original woodblocks. Some of these blocks were carved in the Zhao Mengfu script. Distinguishing features include the appearance of faint lines on some plates, and the rough finish of the bottoms. The second group of supplementary woodblocks was carved shortly after 1865, when the monks Namho Yeonggi and Haemyeong Jangung had two copies of the Tripitaka Koreana printed. At the time, some of the pages could not be printed because the original woodblocks were damaged. This is confirmed by the missing pages of the extant copy that is now preserved at Woljeongsa Temple. As a result, the supplementary woodblocks are estimated to have been produced immediately after the printing. Evidently, however, not all of the damaged woodblocks could be replaced at this time, as only six woodblocks (comprising eight pages) were carved. On the 1865 woodblocks, lines can be seen between the columns, no red paint was applied, and the prayers of patrons were also carved into the plates. The third carving of supplementary woodblocks occurred just before 1899, when the imperial court of the Korean Empire sponsored a new printing of the Tripitaka Koreana. Government officials who were dispatched to supervise the printing likely inspected the existing blocks and ordered supplementary woodblocks to be carved to replace those that were damaged. A total of 33 supplementary woodblocks (comprising 56 pages) were carved at this time, accounting for the largest number of supplementary woodblocks for the Maha Prajnaparamita Sutra. On the 1899 supplementary woodblocks, red paint was applied to each plate and one line was left blank at both ends.

• Journal of Popular Narrative
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• v.26 no.3
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• pp.45-86
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• 2020

In this article, the "modernization of the tradition" constructed on the cultural politics and the way in which it appropriated in the korean theatre in the 1970s were analyzed. It is trying to reveal its implications. It is also a work to critically review the aspects of self-censorship in the korean theatre in the 70s. To that end, we looked at the theatre company Minye Theatre, which preoccupied the traditional discussions in the 1970s by creating national dramas. Until now, the evaluation of the theatre company Minye Theatre in the 1970s has focused on the achievement on the directing of Heo Gyu, who promoted the succession and transformation of tradition. However, the traditional ideology constructed in the state-led cultural politics in the 70s and the way in which it was operated cannot be evaluated only in terms of artistic achievement. The ideology of tradition is selected according to the selective criteria of the subject to appropriate tradition. What's important is that certain objects are excluded, discarded, re-elected, re-interpreted and re-recognized in the selection process of selected traditional ideology. This is the situation in the '70s, when tradition was constantly re-recognized amid differences between the decadent and the disorder that were then designated as non-cultural, and led to a new way of appropriate. The nation-led traditional discussion of the '70s legalized the tradition with stable values, one of the its way was the national literary and artistic support. Under the banner of modernization of tradition, theatre company Minye preoccupied the discussions on the tradition and presented folk drama as a new theatre. As an alternative to the crisis of korean theatre at the time, the Minye chose the method of inheriting and transforming tradition. It is noteworthy that Heo Gyu, the representative director of the theatre company Minye, recognized the succession and transformation of traditional performance as both a calling and an experiment. For Heo Gyu, tradition was accepted as an irresistible stable value and an unquestionable calling, and as a result, his performance, filled with excessive traditional practices, became overambitious, especially when it failed to reflect the present-here reality, the repeated use of traditional expression tools resulted in skilled craftsmanship, not artistic creation. The traditional ideology of the 70s unfolds in a new aspect of appropriation in the 80s. In 1986, Son Jin-Cheok, Kim Seong-nyeo, and Yoon Mun-sik, who were key members of the theatre company Minye Theatre, left the theatre to create the theatre company Michu, and secured popularity through Madangnori(popular folk yard theatre). Son Jin-Cheok's Madangnori is overbearing through satire and humor. It gained popularity by criticizing and mocking state power. On the other hand, not only the form of traditional performance, but also the university-centered Madanggeuk movement, which appropriated on the spirit of resistance from the people to its traditional values, has rapidly grown. In the field of traditional discussions of the 70s, Madanggeuk was self-born through appropriation in which the spirit of resistance of the people is used as a traditional value. Madanggeuk as well as Michu that achieved the popularization of Madangnori cannot be discussed solely by the artistic achievement of the modernization of tradition. Critics of korean theatre in response to state-led traditional discussions in the 70s was focused only on the qualitative achievement of performing arts based on artistry. I am very sorry for that. As a result, the popular resistance of the Madanggeuk and the Madangnori were established in the 'difference' with the traditions of the theatre company Minye Theatre. Theatre company Minye Theatre was an opportunity for the modernization of tradition, but the fact that it did not continuously produce significant differences. This is the meaning and limitation of the "tradition" of the theatre company Minye Theatre in the history of korean theatre in the 1970s.

• Journal of Food Hygiene and Safety
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• v.37 no.6
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• pp.373-384
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• 2022

Fluoxastrobin a fungicide developed from Strobilurus species mushroom extracts, can be used as an effective pesticide to control fungal diseases. In this study, we optimized the extraction and purification of fluoxastrobin according to its physical and chemical properties using the QuEChERS method and developed an LC-MS/MS-based analysis method. For extraction, we used acetonitrile as the extraction solvent, along with MgSO₄ and PSA. The limit of quantitation of fluoxastrobin was 0.01 mg/kg. We used 0.01, 0.1, and 0.5 mg/kg of five representative agricultural products and treated them with fluoxastrobin. The coefficients of determination (R²) of fluoxastrobin and fluoxastrobin Z isomer were > 0.998. The average recovery rates of fluoxastrobin (n=5) and fluoxastrobin Z isomer were 75.5-100.3% and 75.0-103.9%, respectively. The relative standard deviations (RSDs) were < 5.5% and < 4.3% for fluoxastrobin and fluoxastrobin Z isomer, respectively. We also performed an interlaboratory validation at Gwangju Regional Food and Drug Administration and compared the recovery rates and RSDs obtained for fluoxastrobin and fluoxastrobin Z isomer at the external lab with our results to validate our analysis method. In the external lab, the average recovery rates and RSDs of fluoxastrobin and fluoxastrobin Z isomer at each concentration were 79.5-100.5% and 78.8-104.7% and < 18.1% and < 10.2%, respectively. In all treatment groups, the concentrations were less than those described by the 'Codex Alimentarius Commission' and the 'Standard procedure for preparing test methods for food, etc.'. Therefore, fluoxastrobin is safe for use as a pesticide.

• Korean Journal of Mineralogy and Petrology
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• v.35 no.4
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• pp.469-484
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• 2022

The Janggun Pb-Zn deposit has been known one of the four largest deposits (Yeonhwa, Shinyemi, Uljin) in South Korea. The geology of this deposit consists of Precambrian Weonnam formation, Yulri group, Paleozoic Jangsan formation, Dueumri formation, Janggum limestone formation, Dongsugok formation, Jaesan formation and Mesozoic Dongwhachi formation and Chungyang granite. This Pb-Zn deposit is hydrothermal replacement deposit in Paleozoic Janggum limestone formation. The wallrock alteration that is remarkably recognized with Pb-Zn mineralization at this deposit consists of mainly rhodochrositization and dolomitization with minor of pyritization, sericitization and chloritization. Wallrock alteration is divided into the five zones (Pb-Zn orebody -> rhodochrosite zone -> dolomite zone -> dolomitic limestone zone -> limestone or dolomitic marble) from orebody to wallrock. The white mica from wallrock alteration occurs as fine or medium aggregate associated with Ca-dolomite, Ferroan ankerite, sideroplesite, rutile, apatite, arsenopyrite, pyrite, sphalerite, galena, quartz, chlorite and calcite. The structural formular of white mica from wallrock alteration is (K_0.77-0.62Na_0.03-0.00Ca_0.03-0.00Ba_0.00Sr_0.01)_0.82-0.64(Al_1.72-1.48Mg_0.48-0.20Fe_0.04-0.01Mn_0.03-0.00Ti_0.01-0.00Cr_{0.00As0.01-0.00}Co_0.03-0.00Zn_0.03-0.00Pb_0.05-0.00Ni_0.01-0.00)_2.07-1.92 (Si_3.43-3.33Al_0.67-0.57)_4.00O₁₀(OH_1.94-1.80F_0.20-0.06)_2.00. It indicated that white mica from wallrock alteration has less K, Na and Ca, and more Si than theoretical dioctahedral micas. The white micas from wallrock alteration of Janggun Pb-Zn deposit, Yeonhwa 1 Pb-Zn deposit and Baekjeon Au-Ag deposit, and limestone of Gumoonso area correspond to muscovite and phengite and white mica from wallrock alteration of Dunjeon Au-Ag deposit corresponds to muscovite. Compositional variations in white mica from wallrock alteration of these deposits and limeston of Gumoonso area are caused by mainly phengitic or Tschermark substitution mechanism (Janggun Pb-Zn deposit), mainly phengitic or Tschermark substitution and partly illitic substitution mechanism (Yeonhwa 1 Pb-Zn deposit, Dunjeon Au-Ag deposit and Baekjeon Au-Ag deposit), and mainly phengitic or Tschermark substitution and partly illitic substitution or Na⁺ <-> K⁺ substitution mechanism (Gumoonso area).

• KOREAN JOURNAL OF CROP SCIENCE
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• v.30 no.4
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• pp.460-470
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• 1985

Experiments were carried out to evaluate the standard gravity in determining potential kernel size and to determine the effective sampling way by analyzing intra - and inter - plant variations for some source and sink characters using eleven semi-dwarf indica and three japonica cultivars including four semi-dwarf indica nearisogenic lines. Also, additional experiments were conducted to understand yearly variation and variety x year interaction effects for ten characters related to source and sink and to characterize the varietal difference of pre- and post-heading self-competition employing three parental varieties and their F$\sub$5/ progenies in 1982 and 1983. It is desirable to determine the potential kernel size by average kernel wight of rice grains showing above 1.15 specific gravity. There was significant difference in leaf area per tiller, spikelets and sink capacity per panicle among vigorous, intermediate and inferior tillers classified by differentiated order and vigorousness. Although it was difficult to find out any significant difference in grain-fill ratio, ratio of perfectly ripened grain, potential kernel size and sink/source ratio between vigorous and intermediate tillers, there was big difference between them and inferior one. The coefficients of variation within each tiller-group for some characters related to source and sink were larger with the order of vigorous tillers < intermediate one '||'&'||'lt; inferior one, and the average heritability of all characters, evaluated by the ratio of varietal variance (equation omitted) to total variance (equation omitted), were higher with the order of inferior tillers '||'&'||'lt; intemediate one '||'&'||'lt; superior one. Therefore, it is desirable to sample the vigorous tillers to represent the varietal difference of these traits. '82-'83 year variations of three parental cultivars were significant for all traits except for leaf area/tiller, panicles/hill, leaf area index and rough rice yield. The characters showing highly significant variance of variety x year interaction were growth duration from transplanting to heading, leaf area/tiller, sink/source ratio, sink capacity/panicle and grain yield. Generalized yearly response of three parental varieties (Suweon 264, Raegyeong, IR1317-70-l) and their F$\sub$5/ progenies on the 1st and 2nd principal components extracted from ten source and sink characters generally exhibited reduction in both source and sink. However, there were diverse variety x year interactions such as progenies showing similar reaction with their parents and intermediate or recombinational yearly response with little or considerable yearly movement on the four-dimensional planes of the two upper principal components between 1982 and 1983. Sink characters revealing highly significant border effect were grain-fill ratio, spikelets and sink capacity per panicle. Among them the latter two especially showed significant variety x border effect interaction. Self-competition characterized by relative weakness of inside plant's sink characters compared to the border one was more severe during the reproductive stage before heading than maturing stage. Though the larger sink capacity per panicle generally disclosed the severer self-competition, some lines (like Suweon 264) revealed severe self-competition with small sink capacity while a few others showed tender self-competition in spite of big sink capacity per panicle.

• KOREAN JOURNAL OF CROP SCIENCE
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• v.26 no.1
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• pp.56-68
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• 1981

A maize line was selected in 1979 among 1000 Korean local maize lines collected in 1977. The selected maize line was characterized by having three to four tillers and eight to 10 ears on each individual plant. The line was assumed to have a great potential as a silage crop. The investigation was conducted as one of the serial studies on the Korean maize collected lines to provide basic information on the genetic variabilities of the multi-eared and tillered (MET) line and on other agronomic characters, prior to use the line as material for future breeding works for silage crop. The MET line and Suwon #19, single cross hybrid, as check variety were planted on May 1, 15 and 30, in three different levels of plant populations. The results obtained were summarized as follows: 1. The genetic variabilities of multi-ear and tillering habits were greater than environmental variabilities. 2. Total dry leaf weight of individual plant of MET line was also significantly higher than that of Suwon #19. 3. The mean number of tillers and ears bearing on the individual plant of MET line varied greatly with plant densities. The number of tillers and ears was on the average 2.9 and 7.0, respectively, when planted in 60cm. by 60cm. 4. The total dry matter and dried stem weight of the individual plant on MET line were comparable to those of Suwon #19. 5. The kernel weight from the individual plant of MET line was 5 to 40% less than that of Suwon #19, depending upon the plant densities. 6. The Kernel to stover ratio was higher for Suwon #19 than for the MET line. (41% to 35%). 7. The MET line had shown first tiller two weeks after planted on May 1. The second and third tillers appeared three to five days after the appearance of the first tiller. 8. The MET line was very specific in tillering habits. All the tillers were borne on the first few nodes of main stem below the soil surface. 9. The tillering habits of MET line were vigorous in the early part of the growing season, but less vigorous in the later part of the growing season. The number of efficient tillers bearing useable ears, was around two to three, when planted in 60cm. by 60cm. 10. The difference of plant height between main stem and first few tillers was around 10cm. 11. The ear size of MET line was around one-third of the major corn belt hybrids. The shape of ear of MET line was conical, with different diameter. 12. The kernel of the MET line was flinty with small soft starch patches on the endosperm part. 13. The 100 kernel weight was around 15gr., which is about one half of the major high yielding hybrids. 14. The ear height of MET line was comparatively higher than that of Suwon #19. 15. Significantly high and positive phenotypic correlation coefficients were obtained among major plant characters. 16. The growth rate of MET line was slower than that of Suwon #19. 17. MET line and Suwon #19 were both heavily infected with black streaked mosaic virus.

• (The) Research of the performance art and culture
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• no.42
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• pp.47-75
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• 2021

This thesis looks into the interpretation of the Korean War and mystery genre in Korea in the 1970s by analyzing the special drama , in which the theme was directly related to the Korean War, airing through MBC in 1979. It begins by finding the change in direction in the 1970s when the world of TV was dictated through the heavy censorship and the memory of the war by the government. It also looks at the intentions of the producer who was taking in the new way and the viewers who also accepted this drama and its reflections. In order to gain some insights into these issues, it compares between the drama "The Last Witness" and the original novel by Seong-jong Kim who holds the same time to see the way in which this is dramatized. The drama, "The Last Witness", was produced with a plan to generate a high-quality special drama which combined both artistry and sense of purpose. Nevertheless, as watching TV became a leisurely past-time during this period, TV dramas become more aggressive and suggestive in order to attract viewers. This ultimately was encored with obstacles due to the regime and the heavy censorship at the time. The genre of special drama that is well known in South Korea, is designed as an art form to satisfy both their unique artistry and its purpose. The conflict is seen between the key elements of the artistic drama crated by the producers and the 'encouraged' elements that often are needed to engage the viewers. Thus, more often than not, special dramas defeat the original intention of national harmony, encouraged by the regime. This is due to the 'novelty' aspect which grows from the effort of bringing enjoyment to viewers whilst also trying to achieve the artistic drama to life. Alongside this, crime element in this drama is designed in a way that visually embodies the process of deduction, becoming a new possibility to secure the reality of the times. However, it was also a paradoxical existence since it was indicated as an example of unrefined culture that lost its original intention. In that way, it is worth to think that detective suspense stories, which were not popular in Korea, influenced viewers as a tv drama series in the 1970s through the various elements that compose the genre. They went through a process of transplantation and acceptance whilst also attempting to satisfy the viewers and their encouraged elements to engage them. As is well known, crime drama in Korea has its own style by mixing anticommunism and detective reasoning. This combination is found in the way in which the genre naturally forms through the elements selected and excluded in the dramatization of "The Last Witness". The point is that the special drama "The Last Witness" can be seen as an intermediate form that shows the tendency of transformation from the detective reasoning form alongside the crime aspects as TV dramas began to include anticommunism messaging and investigation in the 1970s. In conclusion, when the detective reasoning is used as an element in a TV drama, it shows the trust of the public system and it constantly seeks the possibility of circumventing the political interpretation. The memories of the war is seen as a tool that neutralizes the dismal imaginations inscribed on the dark side of society and the system. As a result, "The Last Witness", broadcasted at the end of the Yushin regime in Korea, is a strange result which combines the logic of a special drama and the encouraged characteristics of television dramas. The viewers' desire which is the discussion about the hidden traces from the texts needs to be restored again.