• Journal of the Korean Institute of Landscape Architecture
• /
• v.50 no.1
• /
• pp.1-19
• /
• 2022

The Geumgang Pine (Pinus densiflora) Forest in Sogwang-ri, Uljin has traditionally been a pine tree protection area (prohibited forest) for timber production purposes, and is now designated and managed as a protected area for forest genetic resource conservation by the Korea Forest Service. This study, we analyzed topographical characteristics, existing vegetation, tree age, and plant community structure, and proposed a sustainable management method for the Geumgang Pine (Pinus densiflora) Forest in Sogwang-ri, Uljin for timber havesting purposes. The topographical characteristics of the target area were 36.7% ridges and 38.7% valleys; the ratio of ridges to valleys was similar, and the slopes formed 24.7% of the total area. The types of pine forest communities are divided into six types based on the progress of pine forest renewal, the competition with other species such as deciduous broadleaf trees, and the formation of layered structures. It has been confirmed that the age of the large-diameter pine trees (40~60cm in diameter) is approximately 60~70 years, which is relatively low. As a result of the analysis of the relative importance percentage and layered structure, differences depended on the progress of the pine forest renewal project, and not only the maintenance of the pine forest, but also the creation of a secondary growth forest, the density adjustment of pine trees, and the active management of competitive trees. The average basal area by the community was 12,642.1~25,424.4cm² for the tree layer and 1.8~1,956.5cm² for the low tree layer based on a quadrat of 400m². The difference in the basal area appeared to depend on the size and number of trees forming the tree layer and the degree of pine forest renewal (the degree of time elapsed after thinning pine trees). The average number of species that appeared in each community was 8.7-20.3; there were many species located in valleys, and the type competes with deciduous broadleaf trees due to the lack of management. The diversity of species ranged from 0.6915-1.0942, and was evaluated as low compared to pine communities in central temperate zones. In this paper, we determined the management goals of Geumgang Pine (Pinus densiflora) Forest in Sogwang-ri, Uljin to produce timber with high economic value, and suggested efficient vegetation management for continuous afforestation, the establishment of a timber production system, and improvement of wood production as a management direction.

• Journal of the Daesoon Academy of Sciences
• /
• v.29
• /
• pp.241-278
• /
• 2017

This study aims to classify broadscale anti-religious movements in Korea based on critical public sentiment and analyze the meanings of these movements. To carry out the research, global religious changes that have occurred in modern times were closely looked into first. The world religions have had an influence on the world's religious awareness. As a result, they intend to acquire universality on their own individual grounds while keeping consistency with the past. This phenomenon used to appear to retain the identity, recreate tradition, transform itself to fit in the present times, pursue innovation, or even become overshadowed by other forms of thought such as when religions have collided with nationalism. How does Korean society perceive the changes that emerged in world religions? In general, the circumstances that Korea faces in this era tend to manifest themselves via the Internet, multimedia, and Youtube wherein they sound off on religion and this includes criticism of Christianity, demand for reformation, attack on minor religions, pro-reform academic circles and media, and the propagation of anti-theism. Criticism of religion is interpreted as an anti-religious movement. The secularism and anti-theism brought up by some Western scholars and critical theories of religion from scientific or historical perspectives are being spread through bookstores. Christianity is prone to reflecting on itself and trying to emphasizing a meta-religious spirituality. This in short, characterizes anti-religious movements in Korea. Indeed, criticism against particular religions has also emerged in the past. However, anti-religious movements that have recently come into existence in Korea are in some regards unprecedented when compared to that of the past in terms of their patterns and context. Especially, the active anti-Christianity movement in general is definitely a new phenomenon. This research mainly focused on Christianity, but on-going anti-religious movements will be a major topic for further research that aims to understand the religious changes unfolding in Korea.

• Journal of the Daesoon Academy of Sciences
• /
• v.33
• /
• pp.219-255
• /
• 2019

'Dao' is an important research subject as it is the main term for 'ultimate reality' in East Asian religious thought. Understanding the concept of 'Dao' is essential to reach the state of 'Perfected Unification with Dao,' the ultimate aspiration in Daesoon Thought. The meaning of 'Dao' can vary such as 'Dao' meaning 'way', which was first introduced in Jinwen. There is also the 'Dao' of yin and yang, and Dao used to mean human obligation, or Dao meaning the way of Heaven. These can also be classified into five categories: Constant Dao, Heavenly Dao, Divine Dao, Human Dao, and the Dao of Sangsaeng. Every natural phenomenon of birth, growth, and death in the universe operates under the patterns of Heaven and Earth. Therefore, Constant Dao in Daesoon Thought is the ultimate pattern underlying human action and the operations of Heaven and Earth. These apply not only to the natural and the divine world but also to the human world. It can be said that 'Rather than natural law or moral symbol of the world, 'Heavenly Dao' means the great Dao that saves the world through the Daesoon Truth of Sangje, Supreme God of the Ninth Heaven. Divine Dao can be said to be 'the Dao by which man must complete his work according to the law and the will of God,' that is, 'the Dao by which God and man are united together by Sangje's heavenly order and teaching, which aims for humanity, righteousness, propriety, and wisdom.' When the world is in a state of calamity and crisis, the request for the saint's Dao can symbolized by the kings, Yao and Shun, in The Canonical Scripture (Jeon-gyeong). The saint's Dao saves the dying world and people's lives and is called 'saving lives by curing the world (濟生醫世)'. It can be regarded as a characteristic of Human Dao in Daesoon Thought, which is the human obligation to follow Sangje's order, the great Dao to save the world. The Dao of Sangsaeng is the true dharma that rectifies the world full of mutual conflict through the ethics of the Later World, which is to promote the betterment of others and to practice the human Dao that saves the world and rebuilds the Constant Dao. Thus, The concept of Dao in Daesoon Thought is Daesoon Truth which applies to and operates throughout all realms of Heaven, Earth, Humanity, and the Divine world. Dao in Daesoon Thought was influenced by the historical background in which it emerged and this can be seen in its ideological features. It embraces the traditional concept of Dao, which refers to the Chinese classics and represents the main schools of thought in East Asia: Confucianism, Buddhism, and Daoism. And it is unique in that it implies the will of Sangje as a religious object, a supreme being. It can be seen that Daesoon Thought has developed through the process of defining the concept of Dao by harmonizing both the universality and specificity of modern Korean religious thought.

• Journal of the Daesoon Academy of Sciences
• /
• v.27
• /
• pp.283-317
• /
• 2016

This research is an attempt to detail the multi-layered ethical characteristics of 'mutual beneficence', shown in the principle of 'guarding against self-deception' in Daesoon Thought while focusing on its major differences as well as the similarities with Kantian and Utilitarian ethical views. In these Western ethical perspectives, the concept of self-deception has received a considerable amount of attention, centering on the context of natural rights and contract theory. Meanwhile, in Daesoon Thought, 'guarding against self-deception' is presented as one of the principal objectives as well as the method or deontological ground for practice. It further encompasses the features of virtue ethics oriented toward the perfection of Dao. Here, the deontological aspect is interlinked with the concept of cultivation and the pursuit of ethics and morals. Hence this makes it a necessary condition for achieving the perfection of Dao, and likewise renders the practice of 'guarding against self-deception' more active through facilitating mutual relations based on the expansion model wherein human nature is characterized as possessing innate goodness. With regard to the tenet of 'resolution of grievances for mutual beneficence,' this concept is presented as a positive ground for practicing virtues toward others without forming grudges. Furthermore, as long as it reveals the great principle of humanity built on conscience, it will come to harmonize practitioners with others and spirits in an expression of beneficence. Moreover, originating in the Dao of Deities, guarding against self-deception is expressed as a form of life ethics and can be suggested as a new alternative for the model of virtue ethics proposed by Nussbaum. All in all, there is a natural causal relationship by which 'guarding against self-deception' in accord one's own conscience and the principle of humanity as a pursuit of perfect virtues in Dao result in the fulfillment of mutual beneficence. This readily akin to how gravity causes water to flow from high ground to low ground. Consequently, these relational features of mutual beneficence can serve an effective alternative to the Western ethical views which also address the need to overcome the egoistic mind which is liable to self-interest and alienation.

• (The) Research of the performance art and culture
• /
• no.43
• /
• pp.357-380
• /
• 2021

Akjang yoram 『樂章要覽』 is a book that summarizes only the important contents from the Akjang 樂章. Akjang 樂章 is arranged in the first half, and score 樂譜 is arranged in the second half. It seems that Akjang yoram 『樂章要覽』 passed through a total of four stages through the time when the handwriting and the lyrics were written. The presence of various handwriting and traces of modifications means that it has been passed through by several people, so it is not unrelated to the fact that several traces remain on the back of the cover of Akjang yoram 『樂章要覽』. The first part of the Akjang 樂章 is a method of presenting the name and lyrics of the accompanying music based on the ritual procedure, and in particular, the lyrics are written in Chinese characters and Hangeul sounds to improve readability. The score in the second half complies with the ritual procedures, but boldly omits overlapping melodies, and is composed based on the music, and various symbols are used to capture the expression of court music. This structure is a reflection of the direction we practiced to harmonize with the music after prior ritual procedures and diction. This was a device to increase the efficiency of music education and music practice for the court musician. The characteristics of the musical pieces are that they consist of essential musical pieces that must be mastered as musicians. In addition, the name Kim Hyung-sik 金亨植 is noted on the back cover of Akjang yoram 『樂章要覽』, and he was a court musician who was active in the age of King Sunjo 純祖. In other words, the musical pieces included in Akjang yoram 『樂章要覽』 are the core repertoire played by court musicians like Kim Hyung-sik 金亨植. Akjang yoram 『樂章要覽』 is a 'music practice booklet' containing the daily life of court musicians. Akjang yoram 『樂章要覽』 is a booklet designed for the purpose of teaching the court musicians to sing while correctly pronouncing the lyrics in major ceremonies. It is even more noteworthy in that Kim Hyung-sik 金亨植 was an owner. In addition to the fact that Kim Hyung-sik's name remains, and in the practicality of being used by various court musicians reflecting and modifying the changes of the times, it is meaningful in that it contains the path of court musicians who spent a lot of time and time to transmit court music.

• (The) Research of the performance art and culture
• /
• no.39
• /
• pp.801-833
• /
• 2019

This article has reviewed on the characteristics of the Beompae (Buddhist chanting) performed by Gyeongjaeeosan Wonmyeongchang(唱) based on the result of musical style of Gyeongjae Anchaebi-sori as defined under the previous studies. And, through the comparison with the Beompae performed by Songam-chang (唱), a same type of musical piece, it contemplates on musical differences between the two singers. Results of the study are shown as follows. of Gyeongjaeeosan Seolhoeinyu-pyeon and of Socheongsaja-pyeon are sunged as Yuchi-Seong(聲) among Anchaebi-sori. 'main melody type' and 'ending type' are generally similar to the musical characteristics of the Yuchi-Seong(聲), and the differences between the two singers are detected from main melody type D and ending type b. In particular, under of Socheongsaja-pyeon, only the type a is detected among the two types. becouse ending note of ending-type 'a' is ended with 'sol'. The basic frame of the Jjaimsae(musical form) has been clarified in the previous studies that the Jjaimsae of Yuchi-Seong(聲) has been maintained just the way it is. However, even for the same Seong(聲), the combination of the 'main melody type' of passage has not been unified, and depending on the musical piece, it has been discovered that the combination of the 'main melody type' has been diversely organized. of Gyeongjaeeosan Bongsongsajapyeon belongs to Pyeon-gae-seong(聲) broadly from the Anchaebi-sori and it is shown to be So-seong(聲) in details. In particular, in the previous studies, the 'ending melody' of So-seong(聲) and the closing melody of were similar with a slight difference for the 'ending melody'. Such a difference is relation to the characteristics for sequentially descending melody of Wonmyeong-chang(唱). The 'Jjaimsae(The musical structure)' is not much different from the previous studies, and the 'yeok-eum(weaving lyrics)' of Songam-chang(唱) has strong tendency of 3-sobak rhythm while the Wonmyeong-chang (唱) is shown the tendency of 2-sobak rhythm in general for the difference.

• The Journal of Korean Philosophical History
• /
• no.29
• /
• pp.153-178
• /
• 2010

The aim of this research was to examine the traditional Confucian view of self-realization in East Asia and the meaning of life implied therein. The researcher closely reviewed the phase of self-realization of both Confucius and Mencius who are central in Confucianism, especially in the primordial Confucianism, and after investigating maturity of personality as well as educational characteristics thereof, the researcher tried to elicit its modern significance. In Analects, Confucius who is the founder of Confucianism mentioned about 'the pleasure of studying and practicing what he has learned'(學而時習 "Hagisiseup" in Korean), since after, his past was then just the process of self-realization that lasted throughout life. That is, the six phases of self-realization, to wit, 'bending on learning(志學, "Jihak")-'standing firm'(而立, "Irip")-'having no doubts'(不惑, "Bulhok")-'knowing the decrees of Heaven'(知天命, "Jicheonmyeong")-'ear being obedient organ for the reception of truth' (耳順, "Isun")-'able to follow what my heart desires without transgressing what is right'(從心, "Jongsim"), are lying hidden and undeveloped during lifetime, and, at the same time, these phases illustrate the state of enlightenment of life in an in-depth manner. By showing the process of living which is being sublimated in respect of quality, and by going through important process of self-innovation up to six times during lifetime, Confucius edifies us the activity of complete self-realization as well as the importance of education and learning. Meanwhile, these are connected to Mencius in a similar pattern, and strong influence of the characteristics of the learning of the mind and heart( 心學, "Simhak") based on his philosophy permeates the self-actualization phase of Mencius. Mencius' self-actualization phase is expressed in terms of six stages, viz., Person of Goodness(善人, "Seonin")-Trustworthy Person(信人, "Sinin")-Person of Beauty(美人, "Miin")-Great Person(大人, "Daein")-Sage(聖人, "Seongin")-Divine Person(神人, "Sinin"), and these six phases of self-actualization process are educational and learning model for people who dream actualization of perfect personality during their lifetime. Confucian and Mencian view of self-realization congruent with self-discipline internally, and it also reveals a stereotype of human externally. These are a process of performing organic ideals in order for cultivating oneself and regulating others(修己治人, pronounced 'sugichiin' in Korean) which has been pursued by Confucianism. Briefly, these self-realization phases are the arts of living that will lay foundation for "Being Born Human, pronounced Saramim' in Korean" and for becoming "Fully Human, 'Sarmadoem'" and finally for "Human Feelingness, 'Saramdaum'

• (The) Research of the performance art and culture
• /
• no.23
• /
• pp.37-61
• /
• 2011

The Noh(能) performance is a traditional drama that represents Japan. The Noh performance was approved in the background of religious thought such as Shintoism(神道), Buddhisms(佛敎), and Syugendo(修驗道). Especially, the influence from Shugendo is large. Shugendo was active in the Middle Ages. Especially, the influence from Shugendo is large. Shugendo was active in the Middle Ages. The Noh was approved while receiving a large influence from Shugendo. It can know the feature of the Shugen(修驗) culture in the Middle Ages through the consideration of . Moreover, the appearance of the training of 'Yamabusi(山伏)' can be seen. "Yamabusi" has not been paid to attention up to now in the research of . And, the focus was appropriated to Yamabusi and it researched in this text. Moreover, the problem of "Chigo(稚子)" is thought through . "Chigo culture" was general in the Middle Ages. It is thought that "Chigo culture" is reflected in . is an Noh performance for the boy named 'Wakamatsu' to enter the mountain and to train. It is because mother's sickness was cured. However, the boy gets sick while it is training. It was dropped to the valley according to the law of Shugendo, and it died. However, it revives by the Yamabusi's prayers. 'Taniko' is to drop to the valley and to bury it when the Yamabusi gets sick while lived. The title of the Noh originated in here. has elements of history, content of training of Shugendo, "Filial piety", and the Chigo culture, etc. These are features of the culture in the Middle Ages. It is not only a sad content though this is a content of the cruel remainder. It is because of the revival though waited rapidly at the end. As for the difficulty of training is drawn in the round, and the appearance of the training at that time is understood well. The essence of Shugendo is to train in the mountain. Supernatural power can be obtained through training. Moreover, it was thought that it was able to be newly reborn through training. The leading part of Shugendo is an Yamabusi. The Yamabusi took an active part in not only the mountain but also the village. The Yamabusi is ordinary people's lives and because the relation is deep, an important factor it knows the folk customs of Japan. The word 'Chigo' is not written in . However, a spectator at that time is 'Chigo' Wakamatsu and is already sure to have understood 'Chigo'. Because everyone knew the Chigo culture in the Middle Ages. A religion at that time and knowledge of the society are necessary to understand the play of Nho well.

• (The) Research of the performance art and culture
• /
• no.22
• /
• pp.223-252
• /
• 2011

If we remember that modern world history has built systems of meaning through the concepts "difference," "different," and "other-ness" and has constructed new identity based on opposing hierarchy, music anthropology which tried to build "difference" between the west and the non-west was thoroughly west -centered, in the sense that it has perceived the heterogeneous symbolic systems among nations, as well as the barrier between the two cultures. On the other hand, world music, which has emerged as the most attractive field in culture industry and concert-art-market by crossing over global capitals, markets, and barriers, can be considered the most post-modernist and glocal. However, it is interesting to note that world music, which has been described as post-modern and glocal, has "difference" and "different" in its basis, just like the precepts for modern music anthropology (Meintjes 1990; Guilbault 1993; Taylor 1997; Frith 2000; Feld 1988). Furthermore, one can understand that the "different" and "difference," generally termed as being "non-western," are fundamentally based on ethnic or national imagination. In this sense it is interesting and important to examine such ethnic imagination in the "non-western ethnic musics" in music anthropology and in world music. Notwithstanding the attention paid and research made by music anthropologists, they have failed to elevate the "non-western ethnic musics" to become universally communicative, and these ethnic musics were reborn as "global" and "world music," through the process of "acculturation," "derivation," and "hybridization," with the west as major site for production and consumption. Meanwhile, the audience for world music, which did not exist before the birth of world music as a term, was now born as world music emerged. They are global populace who consume the musical "difference" and "imagined ethnicity," who through their consumption are constructing new social meanings including ethnicity, race, nation, and class identity. This study, by examining current discourse, performance, and process for the world music through media and field studies and scholarly debates, attempts to understand the production and consumption of "imagined ethnicity." This will also shed light on how "ethnicity" is created and consumed, and how this is involved in the process of world music.

• Journal of Practical Agriculture & Fisheries Research
• /
• v.18 no.1
• /
• pp.79-91
• /
• 2016

Quality factors which characterize 11 kinds of farm-manufactured apple Jangachi and commercial Jangachi, have been studied in order to provide a guideline to improve the quality and marketing strategy of farm-manufactured pickled apples. Moisture content ranged from 74% to 84% and 81% to 91% in Doenjang Jangachi and vinegar Jangachi, respectively; 38% to 64% in Kochujang Jangachi; 57% to 64% in radish Kochujang Jangachi. Moisture content was 89% in Doenjang Jangachi. Even though moisture content of apple Kochujang Jangachi indicated 48% which is lower than that of radish Jangachi, it was higher than that of a persimmon pickled in Kochujang (38%) and that of Japanese apricot Jangachi (49%). pH and titratable acidity, two indicators used to determine the appropriate ripening period of Jangachi, were pH 3.4~5.6, 0.03~0.14%, respectively. The pH ranged from 5.2 to 5.6 in radish Jangachi; 3.4 to 4.1 in Cucumber Jangachi. pH of persimmon Jangachi, Japanese apricot Jangachi and apple Jangachi showed 4.1, 3.5 and 4.1, respectively. Compared with the pH of traditional Jangachi (3.03~5.36), pH of all of the above Jangachi fall into an appropriate range. The brix of apple Jangachi (30%) was 12% to 18% higher than that of Kochujang radish Jangachi, but it was relatively lower than that of persimmon Jangachi (39%) and that of Japanese apricot Jangachi (49%). Salinity of Jangachi varied depending on which marinating material was used. Salinity in the descending order according to each marinating material demonstrated Kanjang (6% to 13%), Doenjang (7%), Kochujang (3% to 4%). Salinity of apple Jangachi was 3.28% which was relatively lower than that of commercial Jangachi which used either Kanjang or Doenjang as its marinating material. Chromaticity test shows that the brightness value of apple Jangachi (54.70) was similar to that of cucumber Jangachi (50.86, 56.02); the redness value and yellowness of apple Jangachi (16.21 and 26.78) were higher than the redness value (7.27 to 11.23) and the yellowness value (10.62 to 14.69) of radish Kochujang Jangachi. Sensory Characteristics value of apple Jangachi, along with radish and cucumber Jangachi in its color, odor and taste (7.00, 7.50, 7.00, respectively) placed high on the list implying higher preference. However, overall preference value of apple Jangachi was 6.83 which was lower than that of Japanese apricot Jangachi or that of radish Jangachi. The result can be explained by the tendency of people preferring crispy Jangachi and points out that the texture of apple Jangachi needs to be improved to gain popularity. Furthermore, for increased sales of apple Jangachi as a niche product, more rigorous market testing is required.