• (The)Study of the Eastern Classic
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• no.54
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• pp.7-44
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• 2014

왕양명 철학의 개념과 구조는 "대학"과 밀접한 관계를 맺고 있다. 왕양명은 "대학"에 대한 새로운 해석을 시도하여 마침내 주희의 "대학" 해석과는 다른 자신만의 학문 체계를 형성하기에 이른다. 이와 더불어 그는 "중용"에 대한 해석에 있어서도 희노애락 등 감정의 미발이발과 중화 등 "중용"의 개념 설명에서 주자와는 다른 견해를 제시하고 있다. 왕양명은 "대학"과 "중용"의 관계에 대해 "자사가 "대학" 전체의 뜻을 총괄하여 "중용"의 첫 번째 장을 지었다."고 평가할 만큼, 왕양명 사상에 있어 "대학"과 "중용"은 매우 긴밀한 관계를 맺고 있다 하겠다. "대학"과 "중용"은 공부 방법에 있어 같은 목적을 추구하고 있으니, "대학"은 성의 공부를 통하여 지선한 경지에 오르는 것을 추구하고 있으며, "중용"은 성신 공부를 통해 지성의 경지에 도달하는 것을 추구하고 있다. 이와 같이 "대학"과 "중용"은 성실하게 한다[성(誠)]는 하나의 공부를 통해 지극한 경지에 오르는 것을 공동의 목표로 삼고 있는 것이다. 이처럼 양명에게 있어 "대학"과 "중용"은 서로 분리하여 말할 수 있는 대상이 아니다. 양명의 "중용" 관련 언급 가운데 가장 많은 분량을 차지하고 있는 것은 "중용"1장에 관해서이다. "중용" 1장은 "대학"의 전체 의미를 포괄하고 있기 때문이다. "중용"에서는 성(誠)이라는 개념을 통해 본체와 공부를 설명하고 있다. 양명은 "중용" 1장을 풀이하면서 본체에 대한 깨달음보다는 수도 공부를 통해 본체를 파악하는 공부를 중시하는 입장을 취하고 있다. 그는 이러한 수도 공부로 '경계하여 삼가면 두려워한다'는 계신공구를 제시하고 있으니, 양명에게 있어 계신공구는 신독이고 치중화이며 치양지 공부에 다름아니다. 여기에서 양명은 "중용"의 공부 방법을 "대학"의 그것과 연관시키고 있음을 알 수 있다.

• Journal of the Korean Electrochemical Society
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• v.18 no.2
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• pp.75-80
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• 2015

Multi-block sulfonated poly(arylene ether sulfone) (SPAES) copolymer was synthesized via nucleophilic aromatic substitution reaction for proton exchange membrane fuel cell application. After synthesizing the hydrophilic and hydrophobic precursor oligomers having different end-groups (F-terminated or OH-terminated), the effect of end group on the molecular weight was investigated. Hydrophilic oligomers with hydroquinone showed better performance as fuel cell membranes. SPAES membranes showed comparable proton conductivity to that of Nafion at $80^{\circ}C$ and above 70% RH. In particular, SPAES 9 with hydroquinone showed higher proton conductivity than SPAES 10 in the whole RH range studied. Increased local concentration of sulfonic acids within hydrophilic block might develop the hydrophilic-hydrophobic phase separation in the block copolymers.

• KOMUNHWA
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• no.60
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• pp.65-99
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• 2002

The main purpose of this article is mainly by analysing the military function and role of sword in army and combat field during Chosen dynasty. Firstly, this study is a pre-survey for the overall research on the troops with military sword. The Chosun army

• (The) Research of the performance art and culture
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• no.35
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• pp.287-338
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• 2017

Gojong' Birth Anniversary Memorial Banquet in the 1910s was forced to be performed differently from the performance style in Joseon Dynasty period that featured a harmonious majestic beauty of etiquette music. The banquet was separated into three different sessions of ceremony, luncheon and performance', which clearly revealed a distinctive pattern of etiquette music. The performance was accompanied by the dinner party or was lightly implemented as part of evening entertainment. With the use of the term entertainment, the performances belonging to this category fell into nothing but something to enjoy, amusement, fun and play. The contents of such performances were not closely woven into the fabric of the entire banquet but were individualized and scattered in a way of putting the performances in a state of flux in line with the circumstances. Therefore, it became increasingly hard to expect a high degree of completion and solid structure of performances. The items of performance included western music, popular vocal music, popular instrumental music, magic, and film, which were not played in traditional court banquet in the presence of Gojong rather than traditional music and dance performed in court. In other words, the court performance could not maintain its traditional heritage but was transformed into a mixture of popular performance and new forms of art. It was driven by the Japanese imperialism toward the atmosphere of entertainment in oblivion of tradition but not toward the external extension of court performances.

• (The)Study of the Eastern Classic
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• no.32
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• pp.29-50
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• 2008

This thesis is an introduction and critique of the recently released 'Wongyo-Jinjeok(원교진적)'. 'Wongyo-Jinjeok' is the critique of Seokjeong Jeong-Jik Lee (석정 이정직, 1841-1910), a practical scientist and writer during the last years of the Korean Empire, on the calligraphy of Wongyo(원교) Gwang-Sa Lee (이광사, 1705-1777). Even though whether or not Seokjeong follows the flow of Donggukjinche(동국진체) is to be determined by the specialists in this field, this thesis is based on the view that Seokjeong was influenced by Donggukjinche. The academic value of 'Wongyo-Jinjeok' is Seokjeong's preface and epilogue which critiques Wongyo's writing. 'Wongyo-Jinjeok'is a collection of calligraphic specimens from the 18 pieces of Chinese poetry Wongyo had written before and after June 1756 which was the year after he was banished to Booryung. Seokjeong critiqued the writing of Wongyo from the perspective of calligraphic history in the preface and epilogue of 'Wongyo-Jinjeok'. Seokjeong had been positive about Wongyo's taking after the pre-Wangheejee calligraphic style. But at the same time, Seokjeong thought that Wongyo's ability to create was limited by the public morals of that time. Such thought of Seokjeong can be interpreted as an evaluation of Wongyo's calligraphy as having been externally stern but failing to transcend the realm of mastery to the realm of creation.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.56-77
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• 2019

Bi-Seok is a treasure trove of funeral rites and an important cultural asset that can shed light on the historical and social history of calligraphy, but research of the topic is still insignificant. In particular, research on the production method of Bi-Seok remains an unproven field. The production of Bi-Seok can be roughly divided into ma-jeong (refining stone), sculpture, and the Buk-chil (process of engraving letters) process. This article reveals some facts: First, performing ma-jeong to the Sang-Seok, Honyu-Seok, Bi-seok, which are known to be God's things. This process is needed because of the change in the perception of the Honyu-Seok due to the settlement and propagation of Confucian ceremonial rituals in the times of hardship in 1592 and 1636. As the crafting process of ma-jeong did not remain concrete, it was only possible to examine the manufacturing process of Bi-Seok through its materials and tools. Second, the rapid proliferation of Oh-Seok and Sa-jeo-chwi-yong (purchase of things made by private citizens) in the Yeongjo era has great importance in social and cultural history. When the Gang-Hwa-Seok of the commodity were exhausted, the Oh-Seok that was used by Sadebu (upper civil class) were used in the tomb of Jangneung, which made Oh-Seok popular among people. In particular, the use of Oh-Seok and the Ma-Jeong process could minimize chemical and physical damage. Third, the writing method of the Bi-seok is Buk-chil. After Buk-Chil of Song Si-Yeol was used on King Hyojong's tomb, the Buk-Chil process ( printing the letters on the back of the stone and rubbing them to make letters) became the most popular method in Korea and among other East Asian countries, and the fact that it was institutionalized to this scale was quite impressive. Buk-Chil became more sophisticated by using red ink rather than black ink due to the black color that results from Oh-Seok. Fourth, the writing method changes in the late Joseon Dynasty. Until the time of Yeongjo's regime, when inscribing, the depth of the angle was based on the thickness of the stroke, thus representing the shade. This technique, of course, did not occur at every Pyo-Seok or Shindobi, but was maintained by outstanding artisans belonging to government agencies. Therefore, in order to manufacture Bi-Seok, Suk-seok, YeonJeong, Ma-jeong, Jeong-Gan, ChodoSeoIp, Jung-Cho, Ip-gak, Gyo-Jeong, and Jang-Hwang, a process was needed to make one final product. Although all of these methods serve the same purpose of paying respects and propagandizing the great work of deceased persons, through this analysis, it was possible to see the whole process of Pyo-Seok based upon the division of techniques and the collaboration of the craftsmen.