• Korean Journal of Environment and Ecology
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• v.25 no.2
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• pp.132-144
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• 2011

We studied the forest environment and characteristics of bird community between April and September of 2010 on the Hyangjeokbong area(A), Baekryunsa area(B) and Anseong area(C), all in the Deogyusan National Park. Hyangjeokbong area of the high latitude ridge was characterized by the Taxus cuspidata and Abies koreana etc., and deciduous broadleaf forest species, such as the Quercus mongolica, with abundance of subalpine zone coniferous trees, the Hemerocallis fulva and the Rhododendron schlippenbachii, while the areas Baekryunsa and Anseong were primarily characterized by deciduous broadleaf forests, with the valleys showing Fraxinus mandshurica colonies. In terms of the DBH(diameter at breast height) of trees, between 11 and 20cm showed the highest frequencies, while over 30cm was the highest in Baekryunsa area and the lowest in Hyangjeokbong area. Furthermore, in terms of coverage in relation to layers, in Hyangjeokbong area, the coverage volume of the lower layer was very high, in Baekryunsa area, the coverage volume of the middle layer between 8 and 12m was the highest, and in Anseong area, the coverage volume of the upper layer over 18m was the highest. A total of 53 bird species were observed during the study period at the Deogyusan National Park. The numbers of species and density of areas were 25 species and 45.20 Ind./km for Hyangjeokbong area, 50 species and 58.63 Ind./km for Baekryunsa area and 35 species and 66.89 Ind./km for Anseong area, with Baekryunsa area showing the highest number of species and Anseong area showing the highest level of density. In terms of dominant species, in Hyangjeokbong area, Cettia diphone, along with species which inhabit in grassland and shrubs, were the dominant species, and species which live in the canopy layer, including the Aegithalos caudatus, were found to be dominant in Baekryunsa and Anseong areas. For guild structure, bush nesting guild and bush foraging guild species were the highest in all areas, and the hole nesting guild and the air foraging guild species showed the lowest proportion. This seems to be the result of the low number of trees with diameter at breast height of over 30cm, which results in the lack of nesting grounds for hole nesting guild species.

• Journal of the Korean earth science society
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• v.33 no.2
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• pp.148-161
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• 2012

The intensive observation (ProbeX-2010) with 6-hour launches of radiosonde was performed over Seoul metropolitan area (Dongducheon, Incheon Airport, and Yangpyeong) from 13 Aug. to 3 Sep. 2010. Five typical heavy rainfall patterns occurred consecutively which are squall line, stationary front, remote tropical cyclone (TC), tropical depression, and typhoon patterns. On 15 Aug. 03 KST, when squall line developed over Seoul metropolitan area, dry mid-level air was drawn over warm and moist low-level air, inducing strong convective instability. From 23 to 26 Aug and from 27 to 29 Aug. Rainfall event occurred influenced by stationary front and remote TC, respectively. During the stationary frontal rainy period, thermal instability was dominant in the beginning stage, but dynamic instability became strong in the latter stage. Especially, heavy rainfall occurred on 25 Aug. when southerly low level jet formed over the Yellow Sea. During the rainy period by the remote TC, thermal and dynamic instability sustained together. Especially, heavy rainfall event occurred on 29 Aug. when the tropical air with high equivalent potential temperature (>345 K) occupied the deep low-middle level. On 27 Aug. and 2 Sep. tropical depression and typhoon Kompasu affected Seoul metropolitan area, respectively. During these events, dynamic instability was very strong.

• Korean Journal of Ecology and Environment
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• v.39 no.3 s.117
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• pp.352-365
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• 2006

In order to evaluate the change of aquatic environment in the reclaimed Hwaong Reservoir, situated in the early stage after construction, this study was conducted to measure the change of precipitation, temperature, and salinity from June 2002 to January 2006. The range and mean of temperature was $-0.7{\sim}33.4^{\circ}C$ and $13.6^{\circ}C$, respectively. Temperature of upstream part rapidly changed during the transitional period; from spring to summer and from fall to winter. It showed abrupt decrease with high discharge from the streams temporarily. While, hypolimnetic temperature of upstream happened to be somewhat higher than that of surface or downstream. The range and mean of salinity was 0.3${\sim}$32.3 psu and 25.3 psu, respectively. Vertical difference of salinity was marked, and the change in the surface water was much higher than middle or bottom layers. It showed the marked difference at all stations, except for the bottom layer of upstream into which Namyang Stream flows, indicating that vertical gradient of salinity is strongly sustained in the reservoir. Salinity was changed markedly during the storm period (June${\sim}$October), and freshwater with low salinity was expanded from upstream to downstream along the surface layer. The surface of the reservoir was totally covered by the stream discharged water with a large amount of silt and low salinity during this period. The difference of temperature and salinity between the surface and bottom layer ranged $-10.6{\sim}9.7^{\circ}C$ and $-27.1{\sim}30.0$ psu, respectively. The big difference of salinity appeared with a large discharge of freshwater from the streams or large input of seawater through the gate. Salinity was negatively correlated with temperature, indicating the influence of monsoon storm events on the salinity under the whole watershed scale of this brackish reclaimed reservoir.

• Korean Journal of Psychosomatic Medicine
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• v.5 no.2
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• pp.185-194
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• 1997

A comparison was made regarding illness behavior among patients with somatoform disorders, depressive disorders and psychosomatic disorders. The subjects consisted of out-patients with somatoform disorders(N=52), depressive disorders(N=52) and psychosomatic disorders(N=51). illness behavior was assessed by illness Behavior Assessment Schedule and the questionnaire about help-seeking behavior. The patients with somatoform disorders and psychosomatic disorders more often affirmed the presence of somatic disease, were more likely to have phobia of disease, had more preoccupation with ideas of disease and more frequently shopped around oriental clinics than the patients with depressive disorders. The patients with somatoform disorders more often attributed its cause to physical factors, less often attributed the origin of affective disturbance to psychological causes, showed Less depression and irritability, and were less likely to accept psychiatric treatment recommended by other physicians than depressive patients. The patients with somatoform disorders were more likely to report having been told that they suffered from a mild illness than those with psychosomatic disorders. The patients with somatoform disorders with psychological problems tended to inhibit expression of their emotion. Female patients with somatoform disorders more often affirmed the presence of psychological disorder and attributed its cause to psychological factors than male ones. These results suggest that in illness behavior, patients with somatoform disorders are different from depressive patients, whereas the former patients are similar to psychosomatic patients except the discrepancy between therapists and patients regarding evaluation of their symptoms. Thus, it is emphasized that first, therapists need to approach patients with somatoform disorders somatically with understanding of their underlying need to deny psychological problems, followed by either psychological or biopsychosocial approach.

• Broadcasting and Media Magazine
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• v.10 no.1
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• pp.85-98
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• 2005

About the phenomenon of being imaged of everything, the scholars of the humanities who had studied on the simple reason structure in a text have been in a big agony how accept it. Especially, semiologists have studied about this for a long time and the points at issues of Saussure, Peirce as well as Umbeto Eco are more outstanding. Being based upon his philosophic interesting from medieval esthetics to modern semiotics, Eco was very concerned about the field of general esthetics and poputar arts like television and cartoons. He connected the mutual open-relations between 'signifier' and 'signified' debated in Semiotics with the open and vague modern arts and regarding it as a deviation from the custom, intensively studied the film-media. Saussure is a representative figure of semiotics and explained Sign and the character of semiotics as the division into two parts such as signifier/ signified, form/ substance, langue/ parole, synchrony/ diachrony. The triadic semiotics (the theory that Sign is composed of the triadic structure like sign, referent and interpretant) of Peirce put the new item- 'interpretant' in sign and referent to connect them and open the possibility to introduce time in to the Sign. In this paper, I try to analyze a cartoon film in the semiotic structure with the systemic, reasonable and logical approach and analysis as as possible. While the images shown through a film were depended on the romantic and impressional judge in the past, due to semiotics, it' s quite possible to correlate the procedure of symbolization to social coherence so that we analyze the incredible power of images to suck audiences with the systemetic Sign. I accept all ot film-images including a cartoon film as not the simple esthetic arts but a social custom and system, want to serve as a aid to properly understand world and humanbeings and prevent the film-image from being mystic. A cartoon and a cartoon film which were begun with the link of a text and an illustration give shape to all of images such as materials, places and even thoughts with a cartoon icon existed in only a cartoon. A cartoon and a cartoon film simply and exquistely conceptualize the complex and vague attribute of an organic creature and extend them infinetly beyond language. However, it can be exploited as a mysticism to temptate the general public and a faking material. In addition to that, it can distort our world-knowledge engaging a political power and the massive power of mass media. In this paper, being based on semiotics to approach a cartoon film in a scientific and organic system, I conclude that a non-linguistic cartoon expression is entangled with the manifold signs and implies the supplementary meanings just like a regular linguistic expression. It remarks that the iconic images of a cartoon film are composed of the social codes and can be analyzed on grounds of a linguistic system.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.4
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• pp.27-39
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• 2011

The study on Musan twelve peaks of Yongho garden in Jinju, Gyeongnam was anticipated to provide data and implication for reproducing similar spaces and modern changes in terms of design factor since it is the prototype of traditional mount for overcoming monotonous geographical features and intriguing changes and interests. The study analyzed and interpreted the symbolism of twelve peaks, principles of space composition and function and effect of visual construction that were pursued by the builder in terms of landscape view, which results are as following. The center of Yongho garden, Yonghoji(龍虎池) is a typical man-made pond for a supportive feng shui feature. It is a supporting equipment to complete the state of feng shui, and the result of strengthening the completion through the connection with the dragon-related name of the place. The shape of Musan twelve peaks looks like an oval form of Geumseongsan(金星山), 2~3.5m in height and 6~12m in diameter. Peaks are estimated as 1.5~3.7m(2.4m in average) in height, $35{\sim}138m^2$($73.4m^2$ in average) in area, and $30.7{\sim}115.0m^3$($62.5m^3$ in average) in volume. Given that Yonghojeong(龍虎亭), Soseon(小船), the site of main building and Yongsanjae(龍山齋) stand in line, Yonghoji was presumed as the state of enlightenment through ascribing the meaning to virtue and secularity. For the intention of realizing Musan twelve peaks, the builder probably had mounted twelve peaks forming the body of dragons with crossing the point corresponding to a head of tiger, and located Musan twelve peaks and Yonghojeong with a representation of dragons holding Cintamani rising into the sky in the center. The middle area near Musan twelve peaks surrounded by peaks like Geumseongsan running north and south shows a multi-structure of multilayer, maintaining the similarity centering on Yonghoji. It is considered the intention of mount planned at the time of Musan twelve peaks construction, caused by similar form harmony. Internalization of progressive realization through concealment and exposure, enframement effect and spatial order like prospect-refuge theory in the mount of Musan twelve peaks is considered the reflection of the intention to increase depth of the view and expectancy through the various degree of exposure and surroundings of each peak and the colorful combination of viewing and shutting. The "closed view" by Musan twelve peaks creates interesting, vivid and attractive recognition of the view, which is more effective in bringing depth of the view and interests in terms of the geographical design, particularly the area around Yonghoji. Moreover, it was identified that the combination of peaks can be formed resulted from the view configuration concerning the location through multilayer effect reveals an island through the other one when viewed from Yonghojeong.

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

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.123-154
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• 2019

Ancestral Burial Ground on the Inwangsan Mountain is a ten-panel folding screen with images and postscripts. Commissioned by Bak Gyeong-bin (dates unknown), this screen was painted by Jo Jung-muk (1820-after 1894) in 1868. The postscripts were written by Hong Seon-ju (dates unknown). The National Museum of Korea restored this painting, which had been housed in the museum on separate sheets, to its original folding screen format. The museum also opened the screen to the public for the first time at the special exhibition Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea held from July 23 to September 22, 2019. Ancestral Burial Ground on the Inwangsan Mountain depicts real scenery on the western slopes of Inwangsan Mountain spanning present-day Hongje-dong and Hongeun-dong in Seodaemun-gu, Seoul. In the distance, the Bukhansan Mountain ridges are illustrated. The painting also bears place names, including Inwangsan Mountain, Chumohyeon Hill, Hongjewon Inn, Samgaksan Mountain, Daenammun Gate, and Mireukdang Hall. The names and depictions of these places show similarities to those found on late Joseon maps. Jo Jung-muk is thought to have studied the geographical information marked on maps so as to illustrate a broad landscape in this painting. Field trips to the real scenery depicted in the painting have revealed that Jo exaggerated or omitted natural features and blended and arranged them into a row for the purposes of the horizontal picture plane. Jo Jung-muk was a painter proficient at drawing conventional landscapes in the style of the Southern School of Chinese painting. Details in Ancestral Burial Ground on the Inwangsan Mountain reflect the painting style of the School of Four Wangs. Jo also applied a more decorative style to some areas. The nineteenth-century court painters of the Dohwaseo(Royal Bureau of Painting), including Jo, employed such decorative painting styles by drawing houses based on painting manuals, applying dots formed like sprinkled black pepper to depict mounds of earth and illustrating flowers by dotted thick pigment. Moreover, Ancestral Burial Ground on the Inwangsan Mountain shows the individualistic style of Jeong Seon(1676~1759) in the rocks drawn with sweeping brushstrokes in dark ink, the massiveness of the mountain terrain, and the pine trees simply depicted using horizontal brushstrokes. Jo Jung-muk is presumed to have borrowed the authority and styles of Jeong Seon, who was well-known for his real scenery landscapes of Inwangsan Mountain. Nonetheless, the painting lacks an spontaneous sense of space and fails in conveying an impression of actual sites. Additionally, the excessively grand screen does not allow Jo Jung-muk to fully express his own style. In Ancestral Burial Ground on the Inwangsan Mountain, the texts of the postscripts nicely correspond to the images depicted. Their contents can be divided into six parts: (1) the occupant of the tomb and the reason for its relocation; (2) the location and geomancy of the tomb; (3) memorial services held at the tomb and mysterious responses received during the memorial services; (4) cooperation among villagers to manage the tomb; (5) the filial piety of Bak Gyeong-bin, who commissioned the painting and guarded the tomb; and (6) significance of the postscripts. The second part in particular is faithfully depicted in the painting since it can easily be visualized. According to the fifth part revealing the motive for the production of the painting, the commissioner Bak Gyeongbin was satisfied with the painting, stating that "it appears impeccable and is just as if the tomb were newly built." The composition of the natural features in a row as if explaining each one lacks painterly beauty, but it does succeed in providing information on the geomantic topography of the gravesite. A fair number of the existing depictions of gravesites are woodblock prints of family gravesites produced after the eighteenth century. Most of these are included in genealogical records and anthologies. According to sixteenth- and seventeenth-century historical records, hanging scrolls of family gravesites served as objects of worship. Bowing in front of these paintings was considered a substitute ritual when descendants could not physically be present to maintain their parents' or other ancestors' tombs. Han Hyo-won (1468-1534) and Jo Sil-gul (1591-1658) commissioned the production of family burial ground paintings and asked distinguished figures of the time to write a preface for the paintings, thus showing off their filial piety. Such examples are considered precedents for Ancestral Burial Ground on the Inwangsan Mountain. Hermitage of the Recluse Seokjeong in a private collection and Old Villa in Hwagae County at the National Museum of Korea are not paintings of family gravesites. However, they serve as references for seventeenth-century paintings depicting family gravesites in that they are hanging scrolls in the style of the paintings of literary gatherings and they illustrate geomancy. As an object of worship, Ancestral Burial Ground on the Inwangsan Mountain recalls a portrait. As indicated in the postscripts, the painting made Bak Gyeong-bin "feel like hearing his father's cough and seeing his attitudes and behaviors with my eyes." The fable of Xu Xiaosu, who gazed at the portrait of his father day and night, is reflected in this gravesite painting evoking a deceased parent. It is still unclear why Bak Gyeong-bin commissioned Ancestral Burial Ground on the Inwangsan Mountain to be produced as a real scenery landscape in the folding screen format rather than a hanging scroll or woodblock print, the conventional formats for a family gravesite paintings. In the nineteenth century, commoners came to produce numerous folding screens for use during the four rites of coming of age, marriage, burial, and ancestral rituals. However, they did not always use the screens in accordance with the nature of these rites. In the Ancestral Burial Ground on the Inwangsan Mountain, the real scenery landscape appears to have been emphasized more than the image of the gravesite in order to allow the screen to be applied during different rituals or for use to decorate space. The burial mound, which should be the essence of Ancestral Burial Ground on the Inwangsan Mountain, might have been obscured in order to hide its violation of the prohibition on the construction of tombs on the four mountains around the capital. At the western foot of Inwangsan Mountain, which was illustrated in this painting, the construction of tombs was forbidden. In 1832, a tomb discovered illegally built on the forbidden area was immediately dug up and the related people were severely punished. This indicates that the prohibition was effective until the mid-nineteenth century. The postscripts on the Ancestral Burial Ground on the Inwangsan Mountain document in detail Bak Gyeong-bin's efforts to obtain the land as a burial site. The help and connivance of villagers were necessary to use the burial site, probably because constructing tombs within the prohibited area was a burden on the family and villagers. Seokpajeong Pavilion by Yi Han-cheol (1808~1880), currently housed at the Los Angeles County Museum of Art, is another real scenery landscape in the format of a folding screen that is contemporaneous and comparable with Ancestral Burial Ground on the Inwangsan Mountain. In 1861 when Seokpajeong Pavilion was created, both Yi Han-cheol and Jo Jung-muk participated in the production of a portrait of King Cheoljong. Thus, it is highly probable that Jo Jung-muk may have observed the painting process of Yi's Seokpajeong Pavilion. A few years later, when Jo Jungmuk was commissioned to produce Ancestral Burial Ground on the Inwangsan Mountain, his experience with the impressive real scenery landscape of the Seokpajeong Pavilion screen could have been reflected in his work. The difference in the painting style between these two paintings is presumed to be a result of the tastes and purposes of the commissioners. Since Ancestral Burial Ground on the Inwangsan Mountain contains the multilayered structure of a real scenery landscape and family gravesite, it seems to have been perceived in myriad different ways depending on the viewer's level of knowledge, closeness to the commissioner, or viewing time. In the postscripts to the painting, the name and nickname of the tomb occupant as well as the place of his surname are not recorded. He is simply referred to as "Mister Bak." Biographical information about the commissioner Bak Gyeong-bin is also unavailable. However, given that his family did not enter government service, he is thought to have been a person of low standing who could not become a member of the ruling elite despite financial wherewithal. Moreover, it is hard to perceive Hong Seon-ju, who wrote the postscripts, as a member of the nobility. He might have been a low-level administrative official who belonged to the Gyeongajeon, as documented in the Seungjeongwon ilgi (Daily Records of Royal Secretariat of the Joseon Dynasty). Bak Gyeong-bin is presumed to have moved the tomb of his father to a propitious site and commissioned Ancestral Burial Ground on the Inwangsan Mountain to stress his filial piety, a conservative value, out of his desire to enter the upper class. However, Ancestral Burial Ground on the Inwangsan Mountain failed to live up to its original purpose and ended up as a contradictory image due to its multiple applications and the concern over the exposure of the violation of the prohibition on the construction of tombs on the prohibited area. Forty-seven years after its production, this screen became a part of the collection at the Royal Yi Household Museum with each panel being separated. This suggests that Bak Gyeong-bin's dream of bringing fortune and raising his family's social status by selecting a propitious gravesite did not come true.