• Korean Architects
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• no.7 s.172
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• pp.37-44
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• 1983

• Korean Deer Journal
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• v.6 no.6 s.35
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• pp.54-55
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• 2001

• 주택과사람들
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• s.199
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• pp.15-19
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• 2006

해외를 자주 다니며 각국의 풍물과 문화를 많이 접한다는 김현우 씨 부부. 천장이 높고 바닥이 깊은 스타일의 주택을 선호하는 그들의 취향이 밴, ‘성북동 하우스’에 대한 애정은 각별하다. 아무리 많은 비용이 들더라도 ‘꿈의 집’으로 삼았던 이상을 반드시 실현하고야 말겠다는 부부의 의지가 대단하다.

• Product Safety
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• no.7 s.151
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• pp.60-63
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• 2006

선풍기 한 대 쯤 없는 집이 거의 없을 정도로 선풍기는 우리에게 매우 친숙한 가전제품중 하나이다. 이번에는 여름철의 풍물인 선풍기의 구조 및 원리 등에 대해서 살펴보도록 하겠다. 먼저 선풍기의 역사를 보면, 최초의 선풍기는 1600년대 천장에 매달아 놓은 추의 무게를 이용하여 기어장치의 회전축을 돌려 1장으로 된 커다란 부채를 시계추 모양으로 흔들어 바람을 일으키는 것이었다. 이어 1850년대는 현재의 탁상선풍기 모양으로 된 것에 태엽을 감아 사용하는 것이 고안되었다. 최초의 전기선 풍기는 T.A.에디슨이 발명하였으며, 이것이 점차 발달하여 보호망을 씌운 현재의 아름답고 정교한 것으로 진보되었다.

• Journal of the Korean Geographical Society
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• v.36 no.3
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• pp.329-341
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• 2001

The purpose of this study focused on the distribution of crimes in Cheongju City. This study emphasized the characteristics of place and spatial pattern of crime in Central Business District(CBD). The crime core areas were delineated and explained through land-use based on fieldwork and GIS analysis For this aim. the police crime data of Cheongju Dongbu(east). Seobu(west) for 1998 were collected In which 3.909 indictable or similar offenses were reported. In this study, Included climes are murder. rape, robbery. arson, theft, burglary, assault and vandalism. Because theme crimes are related with site-specific crime. As a result. land-use patterns are often related to specific type of offenses. The climes in Cheongju City were concentrated in the CBD Most crimes were assaults and thefts Crime areas can be classified by the age of the offender Around Chungang and Pungmul Market in the CBD. the offender＇s ages were 30-50 dominantly Assaults and thefts were concentrated in Songan-gil(street). which is a place teen-ages and youngsters meet frequently The result of the buffering analysis with roads, explained 40% of crime within a 30m buffer area( including both sides) of a principal road The rest of the climes mainly occurred in the vicinity of narrow streets and alleys.

• Korean Journal of Heritage: History & Science
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• v.54 no.4
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• pp.36-59
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• 2021

This study infers the origin and production period of the , which is in the Onyang folk museum, through analysis and interpretation of the Haeju Palgyeong and exploration of the landscapes and traditions contained in the painting. The first collection of landscapes to Haeju was identified as Haeju Palgyeong by Ku Sa-meng (1531-1604). Yoo Man-ju, writing in 1782, referred to it as Go-palgyeong in 『Heumyeong』 while Haeju Palgyeong was defined as Geum-palgyeong (今八景), which is the Haeju Palgyeong in the earliest period confirmed by literature. is 'Boating on the Nam river (南江泛舟)', 'Lotus viewing at Buyongdang (芙蓉賞蓮)', 'Foot washing at Gwangseokcheon (廣石濯足)', 'Seokbyul at Haeunkyo (泣川送客)', 'Fishing at Haeunjeong (東亭釣魚)' and 'Sea view at Namsan( 南山望海)', and the final two contain a picture that contains 'Viewing the moon at Yeonghaeru (瀛海玩月)' and 'Writing contest and Archery at Baeklimjeong (栢林觀德)' The Suyang Chaemi(首陽採薇), Shingwang-jeoljeol (神光霽雪), and Jiseong falls (池城瀑布) of Gopalgyeong, which were excluded from Haeju Palgyeong, are all landscapes unfolding as a grand site of Suyangsan Mountain. is a result of the reorganization of Seunggyeong centered on Eupchi (邑治), away from the Suyangsan area. It has emerged as a seunggyeong of Haeju. The elaborateness of trying to contain the detailed prizes representing Haeju, such as the specialty sake of Haeju, is revealed. Most of the landscapes depicted in are historic and outstanding spots in Haemok, but the scenes of life related to daily life are properly arranged. In addition, Foot washing (濯足), Fishing(釣魚), Doing laundry (漂母), Lotus viewing (賞蓮), Sending guests (送客), Drinking (飮酒), sea viewing (望海), Moon viewing (玩月), Archery (射藝), Poetry (詩作), Drinking tea (飮茶), and Dancing (歌舞) are of various styles. Compared with the Gopalgyeongs, Haeju Palgyeong did not take into account the distribution of landscapes in the four seasons, and the small-sized view was also broken. When considering the time of the construction of Haeunjeong and the deterioration of Yeonghhoeru, it is believed that was produced in the early- to mid-18th century. is considered to be a painting that contributed to strengthening the sense of intimacy with the local people and promoting the pride of Haeju by showing the representative scenery of Haeju, such as scenic spots and customs, away from the ideal utopia.

• (The) Research of the performance art and culture
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• no.32
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• pp.131-169
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• 2016

We will study cultural sprauchling about Pungmul-Kut to find out the sphere of "Gui-myeong-gui" alongside Jeollanam-do, Jeollabuk-do western coast. In this area, there are some traits and terms about Gui-myeong-gui, a sort of Pungmul-Kut and Goon-go. Several Pungmul-Kuts which border the sphere of Gui-myeong-gui are Goon-gui in a southern direction, Unnyeongnongak of Honamudonongak in a eartern direction, and Yeongmujangnongak. The acculturation occurs in two ways. One is the possible acculturation with Goon-gi or Goon-go in coastal areas. The other is the acculturation with Honamudonongak. Especially, this phenomenan appears in double-way interaction. At first, there is the influence of Gui-myeong-gui in Honamudonongak. Kim Bau's style, which might relate to Gui-myeong-gui in Geommopojin, incorporate one of Panje of Honamudonongak through Park Namsik. This phenomenon is porved by the affinity between Eunjijaetji Galag of Honamudonongak GeollibKut and Eungmagaenggaeng Galag of Goon-go, and by the similarity to Neonari-Galag. In case of Neonari-Galag, the role of Jing in Neonari-Galag is replaced by Janggu in Honamudonongak, because of the geatest popularity of Janggu in those days. Secondly, there is the influence of Honamudonongak in Gui-myeong-gui. Northern sphere of Gui-myeong-gui like Buan-gun, Okgu-gun has been influenced since early $20^{th}$ century. In addition, the phenomenon which the sphere of Gui-myeong-gui accepts actively Honamudonongak could occur. So this thesis fragmentarilly checks the existence and traits of Gui-myeong-gui. Based on it, we would be able to reveal and reconstitute the nature of Gui-myeong-gui by understanding acculturation of Pungmul-Kut and by comparing Goon-go with Honamudonongak and Yeongmujangnongak in several regions. Also this thesis draws attention about meanings and effects of Yeonhuinongak's acceptace of Goon-beop.

• (The) Research of the performance art and culture
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• no.18
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• pp.103-136
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• 2009

This study analyzed the aspect of action and mean in Japsaeknorum. Secondly, this study contrasted Japsaeknorum with Mime. Thirdly, the characteristics of gestures in Japsaeknorum were analyzed. The results, obtained by those steps are subordination, hostility, cultural control, the comic characteristics by situation, functional role, the sublation of competition and conflict, the variation of subordination and deviation, the end of subordination and deviation. The korean mime is a heritage of Western culture. But in the history of korean mime, it make every effort to seek the korean form of mime. Therefore, this study is very helpful to seek such a way.

• (The) Research of the performance art and culture
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• no.40
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• pp.307-341
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• 2020

In the past, each villages of ULSAN had their own SUNGHWANGDANGs. Village folks held an annual ritual for a ghost called GOLMAEGI. That ritual, which was a form of festival supervised by the village community, was the opening of seasonal customs. People called the ritual JISINBOPKI. It was a type of NONGAK in which musicals and dramatic factors made a harmony. Usually its lyrics were called 'SUNGJUPURI'or 'JISINBOPKI' song. At that moment, villagers, thumping on the ground with their feet, danced 'DUTBEKI' to awake the sleeping ghost SUNGJUJISIN. After this ritual, the music band started to visit people's house after house around the town playing PUNGMUL NOLI which consisted of SOGO NORUM, JAPSACK NORUM. The whole proceeding of these performances did not have a definite name. Villagers prayed to SUNGJUJISIN for the prevention of bad luck in their home. This study have arranged the type of MAEGUCHIGI, which is a kind of wishing NONGAK, on the basis of two preceding primary documents. And the other is about JISINBOPKI of ULSAN district that was shown in ULSAN YUSA written by a local historian, KIM SUKBO, of ULSAN. The process of arrangement is as follows. At first, considering the implication of this NONGAK, the definite title of it was designated as ULSAN MAEGUCHIGI. And then, it was given its genre and type within NONGAK.

• The Journal of the Acoustical Society of Korea
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• v.27 no.1
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• pp.12-17
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• 2008

Taepyeongso was introduced from China during the end of the Goryeo period and was used widely in Daechwita (military processional music), Pungmul-nori (farmers music), Buddhist music, royal ancestral rite music, and Sinawi, the instrumental accompaniment to shaman dances. Now, It has been popular as it is used for pop music and it is easy to learn. In this paper, Taepyeongso was analyzed for electronic Taepyeongso using physical modeling. We extracted resonance properties of Taepyeongso through the analysis of Taepyeongso sound. We analyzed the bell, the bore and the mouthpiece using FFT and LPC curve. As a result, the bell could be represented 2 pole filter and reflection filter between bore and bell.