• The Korean Journal of Archival Studies
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• no.41
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• pp.175-212
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• 2014

In 2001 a large amount of labor record have been donated from Jeontaeil Labor Archive-Institute to SungKongHoe University(SKHU). Institute of Labor History in SKHU was established in the wake of the installation of the labor archive. Development of oral archive raised the awareness of the various relationships between the use and production of labor record. Interviewees of oral testimony expressed dissatisfaction and the role of the researchers was not sufficiently exhibited. Examining the main cases of Korea union movement history, we can find contradictions between the use and production of labor record clearly. Interval of interpretation and memory was too big between the parties of 'democratic' union movement in the 1970s. While among the parties who took part in Guro Alliance Strike of 1985, there is a group that remains in the "winner" in history on the one hand, but "loser" on the other without any reasonable criterion. Active intervention of the record users(researchers) is very limited. Among citizens or workers how will be resolved such "struggle of memory" in due process can not be seen. This is one of the reasons why labor archive is not rooted in the region. In this paper, I present a methodological alternatives for the production and use of records through the construction of participatory labor archive. Further, the reconstituted contents of the "documenting locality" strategy by complementing the theoretical part of the method of participation. The study of local and locality requires a "scale" dimension that will make up the identity recognition space, a memory and identity, a social relationship rather than the dimension of the physical space. Alternative "documenting locality" strategy will be able to contribute to solve the problems that occur between the production and use of the recording in labor archive.

• The Korean Journal of Archival Studies
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• no.45
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• pp.51-82
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• 2015

Maeul-making, which is to restore inherent characteristics of maeul as a living community has been proceeded by local communities themselves since the 1990s when political democracy and local government in Korean society has been progressed in full-scale. Although New Maeul Movement has been done in the 1970s before and after, it is different from maeul-making because it was focused mainly on improving physical environments of rural communities and initiated by government. The development of maeul community archives in Korea has been related closely to such a maeul-making since the 1990s. Maeul-based community archives, maeul community archives had been begun to build as part of maeul-making and grass-root movement by the 2000s. Initiated by self-motivated communities, maeul community archives were carried out through cooperations between civic activists and residents in maeul communities and voluntary professional archivists from outside. Although records about the maeul community has been collected by mainstream cultural institutions such as public archives, museum, local historical association, and local cultural center, it was at this time to collect records of the maeul community by self-motivated local residents. This tendency of 'independent' maeul community archives, however, is currently entering upon a new phase with the city of Seoul's project (2012) to support making a maeul community, that is, the governance phase based on private-government partnership. At this point of time, it is important for maeul community archives to be built on privately-led governance model that guarantees their autonomy and at the same time bring government's knowhow and supports into them, as opposed to the way captured or driven unilaterally by government. This article explores the growth of maeul community archives and collections in Korean society through a range of self-motivated bodies; the interaction with government; and as a result of those interactions, the creation of maeul community archives based on governance. To introduce and explicate the motivations behind maeul archiving endeavors, this article will first sketch something of the historical, social, and political context in which 'maeul' communities have arisen, collapsed, and restored. It will then examine in more detail some specific examples of maeul community archives as grass-root movement of maeul community. The third section will attempt to identify the governance model of maeul community archives under the auspices of the city of Seoul and its limitations. Finally through these activities, it will suggest the ways in which maeul community archives commit themselves to their duty of grass-root movement of community and at the same time, secure sustainability, that is, concrete ways of privately initiated governance model.

• (The)Study of the Eastern Classic
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• no.50
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• pp.295-318
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• 2013

The purpose of this study was to define the 'caligraphy as a modern concept of art. For this purpose, it was necessary to exclude the elements betraying 'the caligraphy as a pure art' in reference to 'autonomy' as an indicator of modernity in order to reflect on the current topology of the caligraphy in our age. Checking the current conditions facing the caligraphy from the pre-modern, modern and post-modern perspectives will clarify the current topology of the caligraphy and further exploring 'the caligraphy as a post-modern art concept. To this end, this study defines the caligraphy 'as a pure formative art' and thereby discusses it in terms of nature and form. In terms of nature, the caligraphy should be subsumed into a spacial art, but it has a nature of a temporal art created and appreciated over time. Hence, among the spacial arts, the painting is most similar to the caligraphy, while among the temporal arts, the caligraphy is most similar to such rhythmic (of high mobility) or performing arts as music and dance. Merely, the painting does not reveal the flow of time on the canvas, while music and dance leave no residual in terms of audibility and visuality. All in all, the caligraphy is sort of 'temporal-spacial art' like dance in that the visible letters express the artist's sense of life on the plane over time like music. In terms of form, this study compares the caligraphy with engraving, wood print and character design to define the caligraphy as a pure art concept. The caligraphy as a modern art concept, namely, the autonomy of the caligraphy is associated with legibility and meaning in addition to the question whether it is an applied or a pure art. The legibility and meaning of the characters are not only the essential elements of the caligraphy but also are the factors limiting its autonomy, which must be a paradox. All in all, the legibility and meaning of the characters must be the key criteria for determining the caligraphy as a practical art or literary art or as a pure figurative art. In this context, this study discusses the caligraphy as a pure art by comparing it with the spatial art 'painting' and the temporal art 'music.' It might be impossible to define the caligraphy or a genre of art as an autonomous art of self-perfection and categorical identity. Moreover, any attempt to define the caligraphy would fail to interpret the caligraphy appropriately. Merely, we are obliged to position the caligraphy in the process of localizing 'their modernity' and thereby, discuss how to respond to their scheme.

• Journal of Ginseng Culture
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• v.4
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• pp.38-58
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• 2022

Park Wan-seo's novels deal with realistic topics of society, such as women's issues, the capitalist system, and the problems that come with old age. Assuch, her work is used as a tool to analyze social phenomena in various fields, such as women's studies, sociology, and literature. A characteristic style of Park Wan-seo's novels is that she bases them on her own experiences. However, among her novels, the novel Mimang is exceptional. The plot is based on stories that have been passed down from generation to generation. This is to show the spirit of the times through the unforgettable story of her hometown, Gaesong. Mimang is the story of a family chronology that spans four generations centered on Chun Cheu-Man and his family, who became powerful capitalists through the cultivation and commerce of ginseng cultivation. Set in the late 19th century until the end of the Korean War, the novel unravels the essence of the times symbolized by merchants of ginseng and Gaeseong, focusing on the actions of people living in a period of historical turbulence. Gaeseong is the mecca of Korean ginseng, and Gaeseong cannot be portrayed without the story of ginseng and its merchants. Therefore, Mimang, a fictionalized story based on real facts, contains valuable testimony of the history of ginseng, not only as historical values of modern history and personal customs but also as microhistory. In the novel, traces of the times of Gaeseong and the spirit of ginseng merchants, as shown in the Japanese sacking of ginseng during the colonial period, the resistance of ginseng merchants, and the conversion of ginseng capitalism to modern capitalism, are imprinted like fossils. What is especially meaningful is that the stories in the novel correspond to historical facts and constitute a chapter in the history of ginseng. The symbolism of ginseng in the novel can be explained in three main ways. First, it shows the essence of Korean ginseng. It reveals the soul of ginseng through the sincerity and rigor of ginseng farming, as well as the spirit and pride of ginseng. Second, it symbolizes the exploitation of ginseng in Japan as a national issue. The efforts of ginseng merchants to protect this and support the independence movement are presented as important themes to express nationalism. Third, it shows the modern capitalist progressiveness of Gaeseong ginseng merchants, who do not stay in landownership and commercial capital, but convert them to productive capital and contribute to society by modernizing them. The three symbolisms show the spirit of the times of the Gaeseong ginseng merchants, clearly revealing the meaningful relationship between the Korean people and ginseng.

• Journal of Korea Entertainment Industry Association
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• v.15 no.2
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• pp.35-46
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• 2021

The purpose of this research is to analyze Soon Chul Jung's children's songs, who is one of the four great children's songwriters in Korea along with Geuk Young Yoon, Nan Pa Hong and Tae Jun Park. Soon Chul Jung has contributed by actively participate into children's movement at Japanese colonial period through writing self-composed children's songs. Since children's songs are made for the age group without the sense of sound, children's songs necessitate 'easy to sing-along' melody writing process. Like so, when writing the melody that are easy to be sang along, utilization of development technique using a unit called motive can be the potent way. This method has an advantage of being sang more with ease if actively implemented, and can be done by utilizing the smallest unit of the melody called motive, especially by lightly transform and repeat the unit, consequently structuring the song altogether. To investigate and analyze this motive-based development technique of Soon Chul Jung's songs, 38 out of 40 written songs considered eligible for the research were confirmed and chosen from 'Soon Chul Jung's bibliography and choreography' and each songs were analyzed based on 17 different development techniques which were standardized in the textbook 'Melody in Songwriting' adopted as a textbook of the Berklee college of Music, and also compared these song-writing pipelines with other great songwriters' representatives mentioned above. As a result, it was almost linear that the song's pitch variation in combination with thinning or extension were used frequently and repeatedly, otherwise implicating melody duplication for more than 2 bars and motive repetition were not in his favor, while these methods were often used when writing children's songs. This finding could be viewed as a character of his songwriting.

• Journal of the Korean Orthopaedic Association
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• v.56 no.1
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• pp.61-67
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• 2021

Purpose: To evaluate the prognostic factors affecting poor functional outcomes in patients with retear after rotator cuff repair. Materials and Methods: From January 2013 to December 2018, among 631 patients who underwent arthroscopic repair of a rotator cuff tear, 42 patients, who could be followed-up for more than one year and showed a retear of the repaired cuff on magnetic resonance imaging (MRI), were collected retrospectively. The preoperative demographic data, range of motion, American Shoulder and Elbow Surgeons (ASES) score, fatty degeneration, and tear progression on postoperative MRI, as well as other factors that could affect the clinical outcomes, were analyzed. Patients who scored <80 points on the ASES score were allocated to the poor function group. The risk factors for poor clinical outcomes were compared with the group with ASES scores of 80 or above. Results: The postoperative functional results in the group with retear (n=42) after arthroscopic rotator cuff repair showed significant improvement. Univariate analysis revealed the preoperative visual analogue scale (VAS) score and tear progression to have associations with a poor shoulder function. In addition, subscapularis repair was found to be associated with a good shoulder function. The preoperative VAS score and tear progression except for subscapularis repair were independent factors associated with poor clinical outcomes according to multivariate logistic regression analysis. Conclusion: In patients with retear after rotator cuff repair, the preoperative VAS and tear progression in postoperative MRI are factors predicting a poor functional outcome.

• Fashion & Textile Research Journal
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• v.24 no.6
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• pp.667-685
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• 2022

This paper aims to investigate 4D printing materials for soft robots. 4D printing is a targeted evolution of the 3D printed structure in shape, property, and functionality. It is capable of self-assembly, multi-functionality, and self-repair. In addition, it is time-dependent, printer-independent, and predictable. The shape-shifting behaviors considered in 4D printing include folding, bending, twisting, linear or nonlinear expansion/contraction, surface curling, and generating surface topographical features. The shapes can shift from 1D to 1D, 1D to 2D, 2D to 2D, 1D to 3D, 2D to 3D, and 3D to 3D. In the 4D printing auxetic structure, the kinetiX is a cellular-based material design composed of rigid plates and elastic hinges. In pneumatic auxetics based on the kirigami structure, an inverse optimization method for designing and fabricating morphs three-dimensional shapes out of patterns laid out flat. When 4D printing material is molded into a deformable 3D structure, it can be applied to the exoskeleton material of soft robots such as upper and lower limbs, fingers, hands, toes, and feet. Research on 4D printing materials for soft robots is essential in developing smart clothing for healthcare in the textile and fashion industry.

• The Journal of Korean Philosophical History
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• no.27
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• pp.197-222
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• 2009

The Reform Movement(戊戌變法) of 1898 was a boundary tablet of modern history of science and technology which inherited the past and ushered in the future. Kang Youwei(康有爲), as a leader, his scientific thoughts opened up the way of Chinese enlightenity campaign and pushed the development of Chinese modem science and had an important position in modem history of scientific thoughts. The dissertation analyses the source, establishment and content of Kang Youwei. Kang Youwei developed the useful and discarded the useless of the view of implement science held by the Westernized Party, undertook a deep and throughout thinking on the nature of science, had cognition of scientific methods and spirit, by which he criticized negative proneness of ancient Chinese views of science. He put forwards a series of practical suggestions on political reform that provided a solid guarantee and support in system for scientific development. Kang Youwei rooted in the soil of Chinese traditional academic culture, but also western learning in modern western civilization. Kang go through Westernization Movement since the in-depth study of Western natural and inevitable outcome of the social sciences, are giving to science and technology. Although he was originally of Western "science" has a lot of misunderstandings and prejudices, but these shallow hazy perceptual knowledge, his view of science which constitutes the basis of the formation. In the course of scientific inquiry, Kang has begun to explore the essence of scientific development. He has a gut feeling that behind the scientific discovery of the existence of a force, which is the scientific truth and is used to grasp the scientific method. After contact with the Western world, with the traditional "Heaven(天)", and modern Chinese intellectuals began to "axiom(公理)" to recover his traditional "Heaven" of the new understanding is reflected mainly in "Zhutianjiang(諸天講)". "Zhutianjiang" is the Kang Yuwei in the absorption of traditional astronomy knowledge base, will the traditional arithmetic, as well as Buddhism and the West since the twentieth century, new knowledge of astronomy combines written. Kang while recognizing that scientific instruments, is nothing more than an extension of the role of the human senses and make the "Dao(道)" is more clear, but the "artifacts(器物)" caused by the inherent limitations of the limited nature of human knowledge, which is "Heaven" boundless nature of the broad terms, refused to concede defeat to. In reality, the activities of political reform, he gradually recognize this real-world helpless, and he recognized that the real world to achieve common ground of social ideal is impossible, so he chose comfort in life that people really get a stage of "Tianyou(天遊)". This is the cause that his writing "Datongshu(大同書)", at the same time, followed by writing "Zhutianjiang" talk "Tianyou".

• Phonetics and Speech Sciences
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• v.16 no.3
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• pp.59-69
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• 2024

Among the subgroups of speech sound disorder (SSD), the motor speech disorder (MSD) group is characterized by weak articulatory force. This study quantitatively measured and compared articulatory muscle strength between SSD and typically developing (TD) children. The Iowa Oral Performance Instrument (IOPI) was used to measure lip and tongue strength in 15 children with SSD and 15 TD children. We additionally measured peak lip and tongue pressure and endurance, and analyzed the correlation between each strength measure and the percentage of consonants correct (PCC). The findings were as follows: First, lip strength for the bilabial sounds did not differ between the two groups in the initial position but was significantly weaker in the SSD group in the final position. Tongue strength for alveolar sounds was weaker in the SSD group than in the TD group for the initial and final positions. Second, for lip and tongue strength, the difference in voicing features was significant in the TD group but not in the SSD group. Third, the peak pressure and endurance of the lips and tongue were significantly lower in the SSD group than in the TD group. Fourth, significantly higher static correlations were observed between most strength measures and the PCC. These findings suggest that weakness in articulatory motor execution may be an unrecognized underlying problem of SSD with unknown origin.

• Economic and Environmental Geology
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• v.45 no.3
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• pp.317-333
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• 2012

The Yeongweol Group is a Lower Paleozoic mixed carbonate-siliciclastic sequence in the Taebaeksan Basin of Korea, and consists of five lithologic formations: Sambangsan, Machari, Wagok, Mungok, and Yeongheung in ascending order. Sequence stratigraphic interpretation of the group indicates that initial flooding in the Yeongweol area of the Taebaeksan Basin resulted in basal siliciclastic-dominated sequences of the Sambangsan Formation during the Middle Cambrian. The accelerated sea-level rise in the late Middle to early Late Cambrian generated a mixed carbonate-siliciclastic slope or deep ramp sequence of shale, grainstone and breccia intercalations, representing the lower part of the Machari Formation. The continued rise of sea level in the Late Cambrian made substantial accommodation space and activated subtidal carbonate factory, forming carbonate-dominated subtidal platform sequence in the middle and upper parts of the Machari Formation. The overlying Wagok Formation might originally be a ramp carbonate sequence of subtidal ribbon carbonates and marls with conglomerates, deposited during the normal rise of relative sea level in the late Late Cambrian. The formation was affected by unstable dolomitization shortly after the deposition during the relative sea-level fall in the latest Cambrian or earliest Ordovician. Subsequently, it was extensively dolomitized under the deep burial diagenetic condition. During the Early Ordovician (Tremadocian), global transgression (viz. Sauk) was continued, and subtidal ramp deposition was sustained in the Yeongweol platform, forming the Mungok Formation. The formation is overlain by the peritidal carbonates of the Yeongheung Formation, and is stacked by cyclic sedimentation during the Early to Middle Ordovician (Arenigian to Caradocian). The lithologic change from subtidal ramp to peritidal facies is preserved at the uppermost part of the Mungok Formation. The transition between Sauk and Tippecanoe sequences is recognized within the middle part of the Yeongheung Formation as a minimum accommodation zone. The global eustatic fall in the earliest Middle Ordovician and the ensuing rise of relative sea level during the Darrwillian to Caradocian produced broadly-prograding peritidal carbonates of shallowing-upward cyclic successions within the Yeongheung Formation. The reconstructed relative sea-level curve of the Yeongweol platform is very similar to that of the Taebaek platform. This reveals that the Yeongweol platform experienced same tectonic movements with the Taebaek platform, and consequently that both platform sequences might be located in a body or somewhere separately in the margin of the North China platform. The significant differences in lithologic and stratigraphic successions imply that the Yeongweol platform was much far from the Taebaek platform and not associated with the Taebaek platform as a single depositional system. The Yeongweol platform was probably located in relatively open shallow marine environments, whereas the Taebaek platform was a part of the restricted embayments. During the late Paleozoic to early Mesozoic amalgamations of the Korean massifs, the Yeongweol platform was probably pushed against the Taebaek platform by the complex movement, forming fragmented platform sequences of the Taebaeksan Basin.