• Korean Journal of Food Science and Technology
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• v.48 no.1
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• pp.1-8
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• 2016

Sugar profiles of 45 Korean honey samples (15 acacia, 15 multi-floral, 10 chestnut, and 5 artificial honey samples), which are commercially available in the Korean markets, were analyzed using gas chromatography/mass spectrometry (GC/MS) through TMS-oxime and TMS-methoxime derivatization. The average invert sugar contents in acacia, multi-floral, chestnut, and artificial honey samples were $71.2{\pm}1.05$, $68.7{\pm}3.26$, $63.2{\pm}1.85$, and $68.0{\pm}2.10%$, respectively. Fourteen disaccharides were detected from the samples, and the average content of major disaccharides was higher in order of turanose, maltulose, maltose, trehalulose, kojibiose, isomaltose, and nigerose. The average content of total disaccharides was highest in chestnut and lowest in acacia. Seven trisaccharides were detected from the samples, and the average content of trisaccharides was the highest in artificial honeys, which had high erlose content. The total content of disaccharides and trisaccharides was highest ($16.0{\pm}2.03%$) in chestnut honey and lowest ($9.70{\pm}1.75%$) in acacia honey.

• Journal of Korean Classical Literature and Education
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• no.32
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• pp.5-27
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• 2016

This study shows the points of interest and the meanings contained within Hyangga which are derived from three literary characteristics: easy-to-understand structure of dialectic thinking, old-fashioned and universal lyric, and the sense of a place from the past that it reveals. Hyangga is a literary genre that is structured on dialectic thinking in its form and contents. The construction of meaning in these poems happens three stages, which is explicit in four-line and eight line Hyangga as well as in ten-line Hyangga. Therefore, to enjoy Hyangga, it makes more sense to understand the structure of the thoughts contained in Hyangga. A deeper understanding and enjoyment of the thoughts contained in Hyangga can be gained by thinking dialectically. The poems of Hyangga that have survived to present day have peculiar and rich lyrics. The emotions and thoughts contained in Hyangga are a combination of the universal human being and historically peculiar ones. The literary interests of Hyangga come from its universality and individuality, and the concreteness and reality of emotions expressed in its poems. Its beautifully and aesthetically described emotions resonate deep within us. The poems of Hyangga reveal features relating to spaces. We are able to get a sense of places from the past by reading their description in these poems. The places mentioned in Hyangga bring about a connection between our past and our present because they describe the same place but in a different period. Hyangga is a literary genre depicting the emotions and thoughts derived from places that belong to our people's territories. Therefore, the sense of place that Hyangga awakens in us reveals how we exist in the flow of our history. To sum up, the point of interest and meaning contained within Hyangga reveal the structure of dialectic thinking, the lyrics of those days, and the feeling of a sense of place. If these boundaries can be extended, there will be a wider scope for enjoying Hyangga.

• Journal of Broadcast Engineering
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• v.24 no.5
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• pp.836-848
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• 2019

This paper aims at providing a critical view over the cybernetics theory especially of first generation on which the artificial intelligence heavily depends nowadays. There has been a commonly accepted thought that the conception of artificial intelligence could not has been possible without being influenced by N. Wiener's cybernetic feedback based information system. Despite the founder of contemporary cybernetics' ethical concerns in order to avoid an increasing entropy phenomena(social violence, economic misery, wars) produced through a negative dynamics of the western modernity regarded as the most advanced form of humanism. In this civilizationally changing atmosphere, the newly born cybernetic technology was thus firmly believed as an antidote to these vices deeply rooted in humanism itself. But cybernetics has been turned out to be a self-organizing, self-controlling mechanical system that entails the possibility of telegraphing human brain (which are transformed into patterns) through the uploading of human brain neurons digitalized by the artificial intelligence embedded into computing technology. On this background emerges posthuman (or posthumanism) movement of which concepts have been theorized mainly by its ardent apostles like N. K. Hayles, Neil Bedington, Laurent Alexandre, Donna J. Haraway. The converging of NBIC Technologies leading to the opening of a much more digitalizing society has served as a catalyst to promote the posthuman representations and different narratives especially in the contemporary visual arts as well as in the study of humanities including philosophy and fictional literature. Once Bruno Latour wrote "Modernity is often defined in terms of humanism, either as a way of saluting the birth of 'man' or as a way of announcing his death. But this habit is itself modern, because it remains asymmetrical. It overlooks the simultaneous birth of 'nonhumaniy' - things, or objects, or beasts, - and the equally strange beginning of a crossed-out God, relegated to the sidelines."4) These highly suggestive ideas enable us to better understand what kind of human beings would emerge following the dazzlingly accelerating advancement of artificial intelligence technology. We wonder whether or not this newly born humankind would become essentially Homo Artificialis as a neuronal man stripping off his biological apparatus. However due to this unprecedented situation humans should deal with enormous challenges involving ethical, metaphysical, existential implications on their life.

• Cross-Cultural Studies
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• v.50
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• pp.77-101
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• 2018

Even in our modern era, the projection of monsters in the recent literature contains the critical imagination of human existence for the posthuman age. The meaning of the monster-abject, especially as from the perspective of feministic criticism, contains criticism of the violent and oppressive patriarch as observed in the modern times. This article focuses on the gendered imagination of the discussions of the "abject" discussed by Julia Kristeva, and the "monstrous femine" discussed by Barbara Creed. Kim Eon-Hee's poems and Han Kang's novels, which have been examined extensively for analysis, show that the practical strategy of abject that goes beyond hate and sublime, wonder and joy through the imagination and concepts of monsters. The monster-abject strategy of Kim Eon-Hee's poem can be summarized by the narrative method of mirroring and the imagination of the truncated body. Mirroring falsification, which mimics the male speaker, is a method that some feminists strategically utilize in relation to the problem of female aversion in recent years as noted in the literature. In Kim Eon-Hee's poem, "becoming a man" and "imitating a man," through the method of mirroring appear as an image of cutting to dismantle the body. In that way, the narrative strategy of the abject that draws out abominations and bizarre effects which contains a strong critique of the patriarchal dominant ideology. The monster-abject strategy of Han-Kang's novel is embodied through the being of plants and the process of vegetarian-anorexia process. The world of the adject which was oppressed in the Han-Kang's novel, returns to the senses of the body through the symbol of the body. It is noted that the fictional characters who realize the repressed desire through the pathological symptom expressed by the female, go on to body perform active transformation. The sense of a body in a novel is not only a rejection of the world of animalman-civilization, but also a radically questioning of the noted and recognized boundaries between human beings and non-human being entities. The two writer's works show that the imagination of the monster-adject is not limited to rejecting the existing gender categories, but also goes in the direction of exploring the possibilities of various associated gender actions.

• Korean Journal of Heritage: History & Science
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• v.51 no.3
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• pp.104-121
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• 2018

The purpose of this paper is to contribute to a more comprehensive understanding of the Buddhist art in Jeju which has rarely been in the mainstream discussions about the Korean art by focusing on the statues of Jabok Mireuk, or Maitreya of Wealth and Fortune. The Buddhist art in Jeju reached its heyday during the late phase of the Goryeo period (918-1392). The imperial court of Yuan (1271-1368) established Beophwasa, one of its guardian temples which was also a "complementary temple" of Goryeo (918-1392). In 1296, the community of monks based in Myoryeonsa Temple published the Jeju edition of the Buddhist canon granted by the royal court of Goryeo, contributing to the foundation of the island's academic culture. Other items representing the heyday of the Buddhist art of Jeju include the Vajra Guardian carved on the greenschist pagoda of Sujeongsa Temple built during the late Goryeo period and the Five-story Stone Pagoda of Bultapsa Temple made from the locally obtained basalt rock during the early $14^{th}$ century. The Buddhist art of Jeju during the Joseon period (1392-1910) is represented by Jabok Mireuk, or Maitreya of Wealth and Fortune, a pair of stone statues of Maitreya Buddha carved to feature three aspects of the Maitreya worship spread among the local folks in the period. Each of the statues is in a peaked cap and official's robe and characterized by bulging eyes comparable to those of the Buddhist guardian deities such as the Vajra guardian who were designed to protect a sacred area against evil forces. The Maitreya statues provide valuable sources of knowledge about the types of Maitreya adopted by the worshippers of local folk religion in the Joseon period. The Jabok Mireuk statues in Jeju can be easily compared with the Two Rock-carved Standing Buddhas in Yongmi-ri, Paju (1471), and the two standing stone Buddhas in Daeseongsa Temple in Okcheon (ca 1491) and on the Sipsinsa Temple site in Gwangju in that they all wear peaked caps in the "treasure canopy" style which gained popularity during the early Joseon period. One may conclude then that these statues are related with the Neo-Confucian elites who wanted the Joseon dynasty they established to prosper under the auspices of the Buddha of the Future. Interestingly, the enshrinement of the stone Buddha of Daeseongsa Temple is presumed to have been participated by Yuk Han who had served as the Governor (Moksa) of Jeju, suggesting its connection with the Jabok Mireuk despite the regional difference in their style.

• The Journal of Korean Philosophical History
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• no.56
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• pp.47-80
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• 2018

The traditional laws of Korea have undergone various stages of development over time. This includes the voluntary standards of the clean society. Korea's traditional legal systems, ranging from those of the Goryeo(高麗) to those of the Republic of Korea, have taken Confucian Phiosophy as their major ideological bases. At the center of these Confucian ideals, particularly in regards to pre-Qin Confucian Philosophy(先秦儒家思想) from where these ideals originated, lie the core ideals which emphasize the responsibility of each individual regardless of the social status(正名), the needs for a democracy in which people are empower and guide the state(民本), the importance of reigning with benevolence, moral excellence, and rite (仁義), and the differential love centered on kinship and humanity(親親愛人). These were the ideas as set forth by Confucius(孔子), Mencius(孟子) and Xun Zi(荀子). The current laws of Korea, especially in regards to the Constitution and the Civil and Criminal Laws, include a number of provisions that contain the Confucian Ideas of Law. The Constitution, in particular, which is also supported by the judgement of the Constitution Court, reflects several core Confucian ideals including filial duty (孝) and respect for ascendants and the traditional culture. The Court also suggested the two important standards of the constitutional legitimacy of the Traditional Culture. One is 'Age Compatibility (時代 適合性)', the other is 'Manifested Universally Validity(現在的 普遍妥當性)'. So we have burdened with the reestablishment of the Universal Ethics of the Confucian Ideology.

• Journal of Korea Entertainment Industry Association
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• v.15 no.3
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• pp.75-88
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• 2021

The film won the Golden Palm Award at the Cannes Film Festival, and received the Academy Award for a non-English-speaking film in February 2020, respectively. It has received a monumental evaluation in the world film history. Overall, this film is about class conflict, and critics evaluate the theme of the film as "badly twisted class gap" and "anger from class." The film expresses an intrinsic conflict embodied in culture as a "tragedy in which no bad person appears," rather than the dichotomous composition of the classical class struggle from Marxism. In other words, this can be seen as expressing the substrated class relationship of the modern society that Pierre Bourdieu had argued. This film has been focused as a controversial target under Korea society with excess of ideology. Politics used to adopt the keyword, 'parasite', for political disputes not only in culture contents world. Paradoxically socialism China did not allow to release film 'Parasite.' On the other hand, Lee O-Yong argues that the movie "Parasite" does not look at social phenomena through a dichotomous perspective, but is viewed through a "double perspective" and evaluates that it does not lose eyes looking at humans through tension. This view is based upon 'Vital Capitalism'. Lee. O-Yong looks at the movie "Parasite" from the perspective of "Vital Capitalism". The theory of Vital Capitalism does not seek to find the root of historical development in class struggle conflicts, but rather figuring out history and society pays attention onto the intrinsic characteristics of life, Topophilia, Neophilia, and Biophilia. Lee Eo-ryeong argues that the development of civilization theory evolved from the stage of Hobbes' Darwinism or predatism to the stage of host vs. parasite of Michel Serres, and onto the stage of Margulis's 'Win-Win (inter-dependence)'. In this paper, after overview of vital capital concept and preceeding research, re-interpretations were tried onto scenes based upon fields from habitus, culture capital. This exploration looks for a alternative for excess of ideology in Korea society.

• Journal of Popular Narrative
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• v.26 no.1
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• pp.135-174
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• 2020

The article focuses on the student activism experience of the 1990s and 2010s and on the accumulation of everyday experiences created by the conditions of the 2010s against the backdrop of differences in how the composition of 'we' is portrayed in oral narrative. What stands out in the 90s oral narratives on student activism experiences, which were compiled in the 2010s, is the distancing of the culture of student activism at that time. In the words of speakers who experienced university life in the 1990s, the culture of student activism at the university was created through private relationships, and was, needless to say, considered 'natural'. At the same time, however, the 'natural' is said to be 'abnormal' or 'strange' in the context of the 2010s in which it is being talked about, and is meant to be an experience with a certain distance from the present speakers. This aspect is associated with the conditions under which the experience of the 90s is being described in the 2010s. The present, which explains past experiences to speakers, was explained after the 2016 candlelight protest and Gangnam Station femicide protest, and is described as a world that is qualitatively different from before, and is located as an opportunity to create a critical distance from past experiences. This qualitative change, which raises suspicions about the homogenous "we", is based on a newly acquired sense of gender sensitivity, living since the mid-2010s, when gentler issues were the biggest topic in Korean society, among others. In the 2010s, the composition of 'we' is no longer understood as a community of people who share any commonality, but as individuals who unite despite numerous differences. This reveals the experiences of those who have already embodied this in their everyday senses in the 2010s. The 'we' they formed should have nothing to do with private relationships, nor was homogeneity considered the most prominent group, so it was nothing that could explain the 'me' at the time of the demonstration and outside of the venue. It was in that context that the relevant experience was described in a cautious manner throughout. This, in turn, raises the need to ask and understand a new sense of student activism and, moreover, social movements and the sense of unity as 'we'. It should also be asked who is the main body of the movement and what is the use of asking it. Soon, the need and meaning of defining the fixed identity of 'we' in the movement should be questioned. Therefore, it should be asked what fixed positions or coordinates can really represent someone's position.

• Journal of Technology Innovation
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• v.31 no.1
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• pp.105-148
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• 2023

This paper provides a new method of measuring the degree of technological progress which contributes to real economic growth based on Schumpeter's Trilogy. Using Microdata of Statistics Korea, the results of measuring and comparing the actual growth contribution of technological progress during the period 2003-2018 by the total factor productivity growth rate(growth accounting method), the R&D investment contribution rate, and the Schumpeterian innovation growth rate, respectively are as follows. First, the measurement of the real growth contribution of technological progress by the growth rate of total factor productivity and the growth rate of Schumpeterian innovation shows contradictory results. Second, when the growth rate of production is in a decreasing trend, the difference between the growth rate of production and the growth rate of total factor productivity increases compared to when it is in an increasing trend. Conversely, when there is an increasing trend, the difference between the growth rate of production and the growth rate of total factor productivity becomes smaller compared to when it is in a decreasing trend.. Third, the technological opportunity that affects the innovation growth rate, i.e., the contribution of R&D incentives to innovative growth is only 3.3%. The reason why this result is different from the existing perception of the contribution of technological progress to growth is that different entities are being measured while measuring the same term of technological progress. Therefore, the growth rate of total factor productivity should be used to measure macroeconomic efficiency, R&D investment should be used to measure the effectiveness of new technology supply, and the Schumpeterian innovation rate should be used to measure the economic impact of technological progress. The policy implications of the research results of this thesis are as follows: ① Transition from a policy of one-sided technology supply to a policy of convergence of technology supply and new technology demand support, ② Mission-oriented R&D policy and R&D policy that links national R&D with private R&D, ③ Reclassification of capital goods reflecting the degree of new knowledge.

• (The) Research of the performance art and culture
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• no.22
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• pp.371-411
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• 2011

In the twenty first century of rapid cultural change performing art requires new mode of expression based on imaginative power and creativity as well as establishing its own identity. The modern technological environment support this with advanced technology and bring about the expansion of reason from new experience. The introduction of digital media on artistic expression in particular, expands the physical ability of human body which is the main subject of performing art. A virtual body from digital technology is freed from physical boundaries and goes over space and time. It also suggests the possibility of new mode of communication with audience. This study aims at examining the subject of performing art and its digitalized movement focusing on EveR, the world's first professional robot actor. The robot actor which came on stage according to the new expression medium, a digital body, stands in need not only of technological value but also of cultural and artistic application for expression in art. In this endeavor to meet the demand, this study examines the development process and function of 'EveR' the robot actor. Also it searches into the performance of Ever which replaced human being as well as the historical significance of the title:the world's first. To be more specific, there is a example research on two performances:a pansori play "EveR is simply stunning(2009)" and children's play "The Robot Princess and Seven Dwarfs(2009)." Through this example research, it is enabled to anticipate the influence of robot actors on performing arts and to search for the better way of them to evolve. Furthermore, it aims at finding ways to create high value through promoting robot actors to be familiar to the public as well as supporting them to become active cultural contents. The performance with robotic technology is one of the artistic experiment that may cause the change of the future of performing art by actualizing technological imagination together with human body and machinery. As a consequence, it is expected that the meeting of performing art and robotic technology gives positive influence on activating performing art as one of the integrated cultural phenomenon which satisfies the taste of modern era. Moreover, this study may also be the beginning of the expansion of performing art to stretch to diverse field.