• Korean Journal of Environment and Ecology
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• v.24 no.6
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• pp.638-647
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• 2010

This study was performed in order to analyze influences the actual vegetation between the communities of Pinus densiflora and Quercus mongolica in southern Korea to the species composition of the seed bank in the top soil. The soil samples were collected from the studied plots and transported to the Experimental Glasshouse at Department of Landscape Architecture, Yeungnam University and examined the germinated species individual numbers with species composition and germinated individual numbers by species. The overall germination status was the highest in the herbaceous layers than the layers of tree, sub-tree and shrub, respectively. There were no significantly different between numbers of species and individuals and between actual vegetation and seed bank in the two communities. The woody species marked in the seed bank as a pioneer or edge species than in the two communities which are in the stage of mid or late successional species. Although the plant species in the herbaceous layers was highly influenced to the species composition of the seed bank, but no significantly different was showed within the same forest zone and latitudes of Korean peninsula. As the pioneer or edge species of the actual vegetation possibly will be higher the buried in the top soil layer and this phenomenon will influence overall species composition in the seed bank population.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.2
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• pp.125-131
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• 2020

In this study, the author comparatively analyzed the effects and applicability of drifts, one of planting design methods based on the principle of visual harmony, to look into the definition and characteristics in planing techniques with examples of drifts in gardens designed by Gerturde Jekyll and Piet Oudolf. Sites chosen for the case studies included Jekyll's Upton grey and Hestercomb garden and Oudolf's At Scampston Hall and Trentham Estate Garden. The results showed that Jekyll set layers for vertical and horizontal structures by using plants of different height to make flowers look like floating with their stems unseen and appear in turn over time. Assemble planting of groups was used to conceal rigid, irregular lines so that the plants are recognized as mass with smoother horizontal lines. Clearly visible, repeated drifts creates a sense of unity. Oudolf, in combining grass and perennial plants, used one-to-one correspondence or expansion to express drifts. Grass serves roles as a connecting material inserted when changing space or making transitions of images. Blocks in single species are repeatedly crossed to set scenes, and overlapping and mixing makes them more lively.

• Archives of design research
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• v.17 no.3
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• pp.335-342
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• 2004

Recently there have been various research activities regarding Korean traditional aesthetics. However, those researches were mainly conducted individually, partially, and periodically, which resulted in unsystematic and incomprehensive works. Therefore, it is required to orginze all the precedent research works with more systematic and objective framework. Generally speaking, all the human activities including aesthetic activity have ends, procedure and means. In other words, human being needs three key elements for realizing any thought and those three elements include contents, formal, and practical element. Element of contents is ultimate goal to accomplish as value, concept, and meaning of thought with their aims. Formal element includes methods, principles, norms, procedure, formality and style comprising of thought in order to accomplish the goal. Finally, practical element refers to specific means, tool, media, material and techniques to concretize the contents through form. Almost all of thoughts and meaning which human being tries to express consist of language. Major elements in sentence include 'subject (omissible)' , 'objects (aim)', 'predicate (formality)', 'complement (means)' and they are composed systematically and hierarchically with rules in sentence. The study compared human activity model with language structure and analyzed their implication with design (aesthetics), which made it possible to propose analytic frameworks for traditional aesthetics. In addition, the study also systematically organized the way to realize traditional aesthetic value in the present context based on the methods developed in this study.

• Korean Journal of Environmental Biology
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• v.23 no.1
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• pp.1-20
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• 2005

This study aims to investigate the flora of Mt. Gaya National Park, especially focused on the forested wetland vegetation of Danji-bong area. The flora of Mt. Gaya was investigated from April in 2003 to October in 2004. Vascular plants of this area consist of total 465 taxa, 4 hybrids, 12 forma, 75 varieties, 1 subspecies, 373 species, 268 genera, 91 families. It corresponds to 11.4% of totally 4,071 taxa appeared in Korea. Korean endemic plants were composed 11 families, 15 genera, 14 species, 1 variety and totaling 15 taxa. And also actual vegetation structures were analyzed the newly founded forested wetland and natural population Ajuga spectabilis on the Danji-bong area using the vegetation and the species composition by tree layer.

• Cartoon and Animation Studies
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• s.39
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• pp.111-132
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• 2015

Although Rotoscoping technique has been used for a long time to mimic the natural and smooth motion since the early 20th century, its artistic value was devalued as tricks because it traces the already recorded images. But the fact that the rotoscoping images can cross the boundaries between animation and live action in an infinite integral freedom in the digital era became rather expansive new aesthetic possibilities of representation of the reality. In addition, Jonas Odell's animations such as (2010), (2008), (2006) are good example to prove that the rotoscoping images also can serve as means to enhance its narrative. This study is to analyze how rotoscoping images act as a unique role in relation with the narrative based on the said person's real stories and realistic images. I argue that his animated films constantly contain these three characteristics -Images to mediate Auditory sensitivity as a record of inner metaphysical reality, anonymous images to represent a specific existential character, and images that act as physical representation that holds the physical space/time and related memory. This reveals that rotoscoping images in this digital era went beyond reproduction for natural movements or special type of style. It rather suggests new layers of experience, and acquires new value in animation. I hope that this study could serve as a foundation to rediscover and re-position the value of rotoscoping images as well as good opportunity to introduce very talented swedish animation artist who already received global attention with his unique philosophical and aesthetic style.

• Journal of Korean Philosophical Society
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• v.126
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• pp.133-158
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• 2013

The main aim of this paper is to show that Gadamer's notion of historical constraint of interpretation is an unsuccessful theoretical postulation. Gadamer tries to present the limits of knowledge and interpretation in terms of his notion of understanding as an event. According to Gadamer, interpretation is bound to be incomplete by nature, and this leads to the thesis of "the uncertainty of interpretation". Although Gadamer seems to make his case successfully against the objective and ahistorical frame of interpretation, his thesis of the uncertainty of interpretation inevitably brings up the fear of nihilistic relativism. To meet this problem, Gadamer offers a constraint of hermeneutic situation, which is derived from the historicity underlying all forms of our existence. Nevertheless, the notion of historicity as the essence of human life does not seem to explain successfully how the actual content of an interpretation is constrained. Drawing on the experientialist notion of 'the embodied understanding", I suggest that the working constraint of interpretations can be appropriately found in the commonality of human experience which is conspicuous at the bodily and physical level of experience. In sum, interpretations, as part of mental and abstract level of experience, arise out of the bodily and physical level of experience, and at the same time strongly constrained by it.

• Journal of the Korean Institute of Landscape Architecture
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• v.50 no.2
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• pp.102-115
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• 2022

The purpose of this study is to present types of design concept based on the specificity of landscape design, and to derive a theoretical framework for the landscape design concepts by analyzing the design concepts appearing in urban park design competitions. Through literature review, five types of landscape design concepts were categorized into value and vision, analysis and interpretation, form and structure, program and element, and process and operation. Using this framework, the design concepts shown in 96 works submitted to 18 domestic and overseas urban park design competitions were analyzed. The results of the analysis are summarized as follows. First, due to the complexity of contemporary urban parks, design concepts are presented as mixtures of main concepts and secondary concepts in multiple layers. Second, it was identified that design concepts of 'form and structure' were used the most in urban park designs, followed by the 'program and element' concepts. The 'value and vision' and 'analysis and interpretive' concepts are introduced as third and fourth. Third, the reason that the 'form and structure' concept is widely used as main and secondary concepts is judged to be because the form of a space, which is the key result of the design, has an important influence on the identity of the design. Fourth, the reason that the 'program and element' concept type is widely introduced is that urban park design has a stronger planning aspect to produce programs during the design process, compared with other design fields where programs are usually given in advance. Lastly, it is difficult to see that the properties of the site solely affect the type of design concept, because a design concept is the result of a complex and creative process in which a designer subjectively interprets the objective characteristics of the site and project, and given design guidelines can affect the type of design concept.

• Journal of Conservation Science
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• v.37 no.6
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• pp.701-711
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• 2021

This study identifies the structure and material characteristics of the mural paintings in Daeungjeon at Ssanggyesa temple in Jindo by conducting scientific research and analysis including microscope examination, SEM-EDS, XRD, particle size analysis, and others. According to the analyses, the murals were considered to be of a typical soil mural style for Korean Buddhist murals, given that the walls were made of sand and soil and the murals had layers consisting of wall layers and a finishing layer. However, some finishing layer used calcite, while some ground layer used zinc white beneath the thick paint. In addition, there were similar features to those found on the surfaces of oil paintings such as cracks along with the paint layer, high gloss on surfaces, and thick brush strokes in many areas. It was found that the walls on which the murals were painted were made of soil but that the paint layer was created based on the oil painting technique using drying oil. It determined that the murals were painted in a unique painting style that is rarely found in other typical Buddhist murals in Korea.

• Iberoamérica
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• v.21 no.2
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• pp.25-52
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• 2019

Esperpento denotes a literary style in Spanish literature first established by Spanish author Ramón María del Valle Inclán that uses distorted descriptions of reality in order to criticize society. And esperpento's narrative strategy is similar in many ways to Mikhail Bakhtin's carnivalism. Especially Valle Inclán's first esperpentic theatre, Luces de Bohemia contained various carnivalistic elements of Bakhtin. The various techniques of Valle Inclán's esperpento used in Luces de Bohemia can be explained by Bachchin's carnivalist techniques. Therefore, this paper aims to re-examine the esperpentic techniques in Luces de Bohemia of Valle Inclán in terms of Bakhchin's carnivalism. Because the esperpentic tecniques of this play pursue the subversion of power or authority through the carnivalistic aspects such as polyphony, subversion of seriousness, parody, grotesque realism, plaza, ambivalence, anomalous structure of space, time and plot, etc. Esperpento and carnivalism serve as a tool to interpret the social reality, beyond criticism and satire of Spanish society. The characters act passively on all the external factors that determine human destiny, rather than actively carving their own destiny like the classic heroes. Modern man cannot defy or control the external situation of the modern civilization. So they are tragic. In this situation, the protagonist of the tragedy who challenges reality disappears and a puppet figure like Max Estrella, the protagonist of the Luces de Bohemia, takes his place on a satirical level. This is the satire and the true meaning of carnivalistic humor that Valle Inclán tried in his play.

• Journal of the Daesoon Academy of Sciences
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• v.48
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• pp.445-479
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• 2024

The ideological context of the Unity of Heaven and Humankind (天人合一) is useful as an approach to understanding the meaning of 'human affairs (人事)' in Daesoon Thought. In Daesoon Thought, the meaning of 'human affairs' occurs within the context of 'the Way of humans (人道)' being based upon 'the Way of Heaven (天道).' However, in Daesoon Thought, the characteristic of 'the Way of Heaven' originates from the Supreme God of the Ninth Heaven (上帝) and His Reordering Works of Heaven and Earth (天地公事). Specifically, this entails the principle of 'what is devised by humanity (謀事在人), is achieved by Heaven (成事在天),' which is inverted to become 'what is devised by Heaven (謀事在天), is achieved by humanity (成事在人).' This is the principle of 'human affairs' that is revealed as the relationship between Humanity and Heaven is newly defined. In addition, the newly changed relationship between Humanity and Heaven is presented as the principle of 'divine beings and human beings mutually guide one another (神人依導).' This principle clearly expresses 'human affairs' in the context of Daesoon Thought. Accordingly, the two directions in which 'human affairs' are completed are expressed as two stages: spiritual enlightenment (靈通) and the Harmonious Union between Divine Beings and Human Beings (神人調化). These two directions in which 'human affairs' pursues 'the Way of Heaven' show a depth beyond just encompassing transcendence and immanence. The relationship between 'the Way of Heaven' and the Supreme God of the Ninth Heaven, in particular, is a useful point for appreciating the how the meaning of 'human affairs' in Daesoon Thought differs from other uses of the term which occur elsewhere.