• Economic and Environmental Geology
• /
• v.15 no.1
• /
• pp.41-47
• /
• 1982

Typical stratigraphic sequences of Paleozoic form the Baegunsan Syncline (equal to Hambaeg Syncline) and Taebaegsan Group is the basement in the southern part of Kangweon Province. Deformation pattern depends on their stratigraphic site and their internal properties. In the biotite schists and meta-sandstones of Pre-Cambrian sequences, flow folds and ptygmatic folds are developed, and high strain deformation is pervasive. Deformational patterns of Cambro-Ordovician are variable because of their various formations. Fracturing is pervasive in the Jangsan Quartzite and Daegi and Maggol Limestone. Welldeveloped slaty cleavage and angular folds of kink and chevron types are the prevailing structures of pelitic rocks. The most characteristic feature of limestone alternated with argillite is the "Compositional cleavage (Author's proposal)" known as the "Worm-eatern" structures. It was known that this structures have a sedimentary origin. But their preferred orienation of long axis of erosional lime holes, originated from tectonic deformation of folding. And this structures have the same character as the axial plane cleavages. Fracturing and long wave concentric folds are dominant characters of the Upper Paleozic sequences. In this area, two folds are superimposed. Field studying and analysis of structures show that the cross-folds of NS-direction are pervasive and were deformed by the EW-directional Baegunsan Syncline. The cross-folding is the major and penetrative deformation and prior to Baegunsan Syncline.

• Cross-Cultural Studies
• /
• v.49
• /
• pp.229-248
• /
• 2017

This paper is a study on French of Lee Sang's poems called metaphysical scandals in Korean poetry. Is poetic language he used a common poetic word or a non-poetic word in French? What kind of harmony do words and sentences composed of French have with Korean, Chinese character, and non-poetic word? Based on these questions, we analyzed a command of French, that is symbolic, geometrical, and pictorial French as well as repetitive and parallel constitution used in form of words and sentences. In Lee Sang's poems, as a result, the use of French is seen as a mixture of non-poetic word. It shows characteristics that reject traditional native language and the creation of poetry. In his poems, French is also an important factor of avant-garde poetic material and experimental creation technique. In his poems, French is used as a special tool to express internal conflicts of the poet. Lee Sang showed experimental style that could not be found in modern Korean literature by using signifier and signifed that french language has.

• Journal of the Society of Disaster Information
• /
• v.17 no.3
• /
• pp.454-464
• /
• 2021

Purpose: There is a need to construct an evacuation passageway for the 2-Arch tunnel, which has been constructed and is in operation. Therefore, it aims to analyze tunnel and center wall behaviour and stability due to excavation of the center wall. Method: We describe the theoretical background of 2-Arch tunnel and evacuation passageway, and focused on analyzing the behaviour of tunnel and wall using 3-dimensional finite element analysis. Parametric analysis according to rock rating was performed with various ground conditions, and the displacement and stress of the center wall were intensively analyzed. Result: With the center wall excavation, the largest amount of settlement was shown in the center of the opening, and the stress was greatest during the first excavation. In addition, it was shown that stress concentration occurred at the top of both openings, and stability reviews considering the concept of allowable stress showed that it exceeded the allowable stress. Conclusion: Although the displacement of the tunnel has secured stability within the allowable standard, the generated stress is found to exceed the allowable standard, so it is necessary to prevent sudden stress release by applying appropriate reinforcement methods during construction.

• Korean Journal of Heritage: History & Science
• /
• v.56 no.3
• /
• pp.234-252
• /
• 2023

This study looked at the modification of major gardens while making Deoksugung Palace (德壽宮) a park in the Japanese colonial era. This is because landscaping work was carried out in various places from 1932 to 1933 to open Deoksugung Palace, which used to be an imperial palace, as a public recreation space. In particular, major gardens such as the front yard of Seokjojeon Hall (石造殿), the back yard of Hamnyeongjeon Hall (咸寧殿), and the back yard of Jeukjodang Hall (卽阼堂) were greatly transformed into different shapes from the original. During the first phase of construction in 1932, a water tank was installed in Seokjojeon Hall Garden, creating the first water space. This water tank was originally a structure installed in the front yard of Injeongjeon Hall (仁政殿) of Changdeokgung Palace (昌德宮). Around 1909, a water tank installed in the front yard of Injeongjeon Hall was relocated to Seokjojeon Garden in the process of turning Deoksugung Palace into a park. The water tank moved from the front yard of Injeongjeon Hall was a factor that transformed the central area of Seokjojeon Garden into a water space, and a fountain installed to replace the water tank remains to this day. The backyard of Hamnyeongjeon Hall was also renovated into a new shape during the first phase of construction. Originally, there was a terraced flowerbed called Hwagye (花階) in the backyard of Hamyujae Hall (咸有齋) and Hamnyeongjeon Hall, and it was restored from the construction that took place after the Great Fire of Deoksugung Palace. In the process of turning Deoksugung Palace into a park, a three-stage stonework was built in the front yard of Jeonggwanheon Pavilion (靜觀軒) which renovated the Hwagye in the backyard of Hamyujae Hall and Hamnyeongjeon Halll. The stonework built at that time was used as a peony garden to provide visitors with attractions after the opening of Deoksugung Palace, and it remains today with the name Jeonggwanheon's Hwagye. The backyard of the Jeukjodang Hall area is a case of damage in the second phase of construction in 1933. Like the backyard of Hamnyeongjeon Hall, the backyard of Jeukjodang Hall, where the Hwagye was originally built, was converted into a Japanese-style garden in the process of turning Deoksugung Palace into a park. The site where the Hwagye was demolished was decorated with a Japanese-style garden centered on mounding, small roads, and landscaping stones, as well as topographic control and planting work. Although there have been minor changes since liberation, the backyard of the Jeukjodang Hall area is still based on a Japanese-style garden created by turning Deoksugung Palace into a park.

• The Journal of the Convergence on Culture Technology
• /
• v.6 no.3
• /
• pp.1-8
• /
• 2020

EuiJae Hu BaekRyun is a symbol of Honam Namjonghwa and is respected as a teacher of Honam culture. He is from JinDo and is a relative of Sochi Heo Ryun and a disciple of Misan Heo Hyeong. The spirit of traditional Namjongghwa and the dignity of painting faithful to its technique have been obtained by themselves, and have made it his own. EuiJae organized a 'Yeonjinhoe' in Gwangju to raise his students. After liberation, a house was built under Mudeungsan Mountain. And showed another aspect as a social educator who emphasized and practiced national spirit while being a tea ceremony man. He excelled in Chinese poetry and painting theory, and expressed a unique field in calligraphy. especially worked as an artist good at poetry, caligraphy, and painting. EuiJae showed exceptional talent, especially in landscape painting. His tendency to paint was to follow Ye Chan's technique of drawing with a dry brush, placing importance on the energy of learning, and constantly trying new experiments with the technique of gisaeng. The world of EuiJae's works can be divided into three periods, based on the signature using the trend of painting or the change of perspective pursued, the era of EuiJae, the era of EuiJaeSanin, and the era of EuiDoin, which had a tendency of independent painting. EuiJae's contribution surpassed the artistic historical assessment that he had formed a big stem for the authentic Namjongghwa of Korean painting culture, which was part of Oriental painting. And recognizing that he was a fundamental teacher connecting modern times through the actual scenery based on NamDohwa's universal spirit and regional characteristics and the creative succession of emotions, he should inherit his passion for artistic spirit and tradition and experimental spirit.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.41 no.5
• /
• pp.28-37
• /
• 2013

This research, which sought to conjecture the formation process of tribal landscape while confirming the method and characteristic of place attachment of the Haeju Oh Family, which is rooted within the village and the Yongwon Pavilion and Garden of Gohak-ri, Mari-myeon, Geochang-gun, Gyeongnam, reached the following conclusion based on the interpretation and analysis of cultural and scenic elements such as the names and sculptures nearby the village and Yongwon Pavilion and Garden. This place is where Goohwagong Oh Sue, a Haeju person, settled down. This is also where his descendants were refined while yearning for their ancestors. The Yongwon Pavilion was established in 1964. It can be sufficiently known that this place was managed and maintained as a garden-like place where the spirit of yearning was shared and which was the basis of the life and entertainment of descendants after being the monumental place for Master Oh Guhwa, through stories, documents, nearby facilities, and writings on many rocks. It is clear that the meaning of 'Bang-Hak(訪鶴) and Jung-Hak (停鶴)' which is carved in many places around this area and Gohak-ri, which symbolizes the Hakbong(crane peak), the vein of Wonjak-dong which is one of the Ahneuisamdong(three outstanding scenic places of Ahneui), is a scenic language explaining the ecological settlement and lives of the Haeju Oh Family. When considering the definition of a sense of place as "a 'social device' made by discussions and practice rather than its existing as a substance," the many structures scattered around the village, Yongwon Pavilion Garden, and nearby designations show the monumental place inheritance of tribal group clearly exhibiting the characteristics of a Korean sense of place. Ever since Guhwagon Oh Sue settled down in Guhak-ri, the tribal group of Haeju Oh Family went through a life settlement phase and landscape formation phase by realizing the sense of place. Afterwards, while yearning for ancestors and repeatedly rooting down in the place, territoriality expanded and the place was reproduced. In particular, timber houses and monuments were constructed during the Japanese Colonization Period, and after independence, the Yongwon Pavilion was constructed through place reproduction, and monumental tribal landscape is currently being expressed in various forms to this day. Thus, allowing to reach the conclusion of 'Tribal Landscape of Gohak-ri, Mari-myeong, Geochang-gun,' which we perceive today. The products of territorial expansion formed by the repeating phenomenon of place rootedness and place attachment by tribal groups are in fact the substance of tribal landscape. Through such, it is possible to confirm the true spirit of place attachment and the earnest interest and affection of descendants towards a unique place that is repeatedly constructed and inherited within the group memory.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.33 no.3
• /
• pp.16-37
• /
• 2015

As a result of analyzing the forming and the transformations of Seokjojeon Hall garden by linking it to the changes of Deoksugung Palace influenced by the social atmosphere, the Seokjojeon garden can be classified into four phases. The first phase starts from 1896 to 1914. Gyeongungung was built in the late 19th century(1896-1897) as an official palace and Junghwajeon Hall and Seokjojeon Hall was built for Gojong. J.M.Brown was in charge of the construction of Seokjojeon in the beginning but H.W.Davidson saw the end also set up the garden. In the process of forming the garden the incorporating of Dondeokjeon Hall and the demolishing of the west wing corridors of Junghwajeon Hall occurred. At this phase of the garden a statue of an eagle was put up in the garden but was soon taken down. The shape of the garden was quiet simple with a central axial pathway, a round assorted flower bed placed in front of Seokjojeon Hall. The second phase starts from 1915 to 1932 which lasted for 17 years. At the last years of the Great Han Empire the duties of Gungnaebu(宮內府) was transferred to Leewangjik(李王職) in 1911 and a research on the existing buildings was done by Jujeonkwa(主殿課) in 1915. According to the research drawings, the garden still maintained the axial pathway formed in the previous phase but the garden had an asymmetric form. The flower bed was formed in a round shape and an open-knot technique and boundary plantation was applied to the garden. The third phase starts from 1933 to 1937 and is the period when Seokjojeon Hall was made public. By the year of 1932 many buildings of Deoksugung Palace had been demolished in the preparation of the opening of Seokjojeon Hall as a permanent exhibition hall. The central axial pathway still remained in the new garden and added a pond with a turtle statue in the center. The fourth phase starts from 1938 until the liberation from Japan and is the period when Deoksugung Palace became a park. Yi Royal-Family Museum was built and linked to Seokjojeon Hall with a bridge and the garden transformed into a sunken garden. The garden adopted a fountain and a pagora. Despite the minor changes in the after years the garden still posses most of its form from the fourth phase. As we can see the current garden of Seokjojeon Hall is not the same as the initial garden and therefor the importance of this study lies in the fact that modifications to the statements regarding to Seokjojeon Hall garden should be made.

• Sijohaknonchong
• /
• v.23
• /
• pp.213-239
• /
• 2005

Si is a genre which has been steadily loved by Korean, Particularly, 1920's through 1930's, the Revival Movement of Sijo is made by the school of Literary for People, including Choi Namseon, Lee Byeonggi and Lee Eunsang. And Kwon Goohyeon, a member of KAPF, and Han Yongwoon, not belonging to any literary group were interested in Sijo. Kwon Goohyeon, both a member of KAPF and an anarchist has published A Present of Black Room(1927), which is one of the two published in 1920's-1920's saw only two volumes of Sijo works be published: Choi Namseon's 108 Agony(1926) and Kwon's. However, Kwon Goohyeon's work has not been illuminated. compared with Choi Namseon's and the Revival Movement Sijo by the school of Literary for People. It is because Korean literary world has been under the anti-communism ideology since the Liberation of Korea. However, it caused to explore proletarianism Sijo (Joh woon) and proletarianism poetry (Park Yeonghee) that Kwon is a memeber of KAPF and an anarchist. Han Yongwoon, not belonging to any literary group, was very famous as the poet of My Belolved One's Silence(1926), not as a Sijo poet. It means that he s not been illuminated as a Sijo poet. However, his Sijo is enough to contain his various features such as a man of Independence Movement, a Buddhist monk, a lyrical poet and so on. His first Sijo is For Planting Mookoonghwa-Poetry Written in Prison(1922), which has been published four years prior to My Beloved One's. And his affection on Sijo is inferred from the fact that he has constantly published Sijo more than free verse. The aim this thesis is to find out a position of Sijo 1920's through 1930's from a study on Kwon Goohyeon's and Han Yongwoon's Sijo. Sijo, Korean traditional literary genre, was written by most of the poets including not only the school of Literary for People but Kwon Goohyeon and Han Yongwoon 1920's through 1930's. As a result, the writing of Sijo was not a partial movement by the anti-KAPF group, but by a paradigm in 1920's through 1930's.

• Sijohaknonchong
• /
• v.42
• /
• pp.213-238
• /
• 2015

Jeongun(丁芸) Lee, Young-do (李永道), who is deemed a representative female poet of Korea, began her literary career in May, 1946 when she published in a publication called "Bamboo Sprout, (죽순)". Her Korean identity, which was formed through her Confucius upbringing as well as traditional value system of her family, had a strong presence in her work, and she remained a quintessential figure in Korea's female sijo poet circle for 30 years until her passing in 1976. Despite the highly acclaimed talent and her noble aspirations, it is undeniable that her works did not receive fair assessment due to her private life. Against this backdrop, it is necessary to deeply inquire the literary values and beauty of Young-do Lee's sijo. As mentioned, Young-do Lee is a solidly established figure in Korea's modern poetry. The following illustrates the spirit and the world of her poetry. First, Young-do Lee lived through turbulent times and it was her country that served as the source of her sijo work. Assessing the multitude of dramatic historical events such as Japanese colonization, 8.15 Liberation of Korea, division of the nation, 6.25 Korean war, 4.19 Revolution, 5.16 military coup, it is natural that patriotism was strongly present in her work who was one of the intellectuals at the time. Second, Young-do Lee is a poet who had experienced more pain than others in terms of the turbulence of the time. Her Korean identity, which was formed through her Confucius upbringing as well as traditional value system of her family, had a strong presence in her work. Third, Jeongun Lee, Young-do is a poet of longing. The abundance and richness of her emotions were fortified through the relationship with another poet, Chihwan Yu. Fourth, Young-do Lee is a poet opened up new horizons for the modennization. The transparency of image reflected in her work and the elaborate nature of her language are outstanding. In summary, Young-do Lee was a true artist, who has a strong presence in Korea's modern poetry society, and who was a poet of patriotism, poet who suffered the turbulence of the times, and a poet of longing.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.38 no.3
• /
• pp.83-91
• /
• 2020

The purpose of this study is to examine the process of formation of modern gardens. Based on the analysis of the process of formation and transformation of the Jemulpo in Incheon and the details of the modern garden construction. The results are as follows; First, the formation of the Incheon Residence Site began in 1876 with the signing of the Joseon-Japan Treaty. Jemulpo used to be a desolate fishing village in the past, but after its opening in 1881, the Japanese settlement, Chinese settlement, and the general foreign settlement were formed. After that, Japan reclaimed the southern mudflats and expanded the theire settlement area, and advanced to the Joseon area(currently Sinheung-dong). In Japanese colonial era, modern Japanese urban landscapes were transplanted into the settlement area, centering on the Japanese modern gardens were distributed in the area around the center of the settlement area. Second, after examining the process of creating the garden for the Rikidake villa, Japanese Rikidake purchased a site for an orchard in Uri-tang, who was a major landowner in Incheon, to create the garden. At the time of Rikidake's residence, the garden was very large, measuring about 3,000 pyeong, and after liberation, it was acquired by Incheon City and used as Yulmok Children's Library. It was known as a rich village at the time of the opening of the port, and a garden was located at the highest point in Yulmok-dong, making it easy to see the Incheon Port area. Also, a spot located about 300 meters away from Rikidake's rice mill may have affected the location selection. Third, today's Rikidake villa has a Japanese-style house on a trapezoidal site, with a garden of about 990 square meters on the south side. Currently, it is possible to enter from the south and from Yulmok Children's Park in the north, but in the past, the main direction of the house was to view the Incheon Port, settlement area, and the Rikidake Rice Mill, so the house was located in front of the garden. The garden is a multi-faceted style with stone lanterns, tombstones, garden stones, and trees placed on each side, and is surrounded by arboreal plants such as attention, strobe pine, and maple trees, as well as royal azaleas. The view from the inside of the house was secured through shrub-oriented vegetation around the house.