• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.1
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• pp.1-17
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• 2016

The purpose of this paper is to understand the value of Dongji(東池), Seoji(西池) and Namji(南池), the lotus ponds of Fortress Wall of Seoul as part of the cultural landscape of the period through a consideration of personal behavior and impressive landscape characteristics via various old writings on each pond. The objects of this study include poems, diaries, travelogues and essays describing these ponds. The results are as follows. First, the preferred landscape elements of these three ponds were lotuses, willows and water itself. Second, while Dongji was recognized as a natural landscape, the composition of Seoji was a mixture of with natural and urban landscapes, and Namji was more urban altogether. Third, in aspects of personal behavior, while Dongji was a place where people broke their journeys to gaze at the scenery or looked down distantly, in Seoji, people stayed for a long time in a pavilion called Cheonyeon-jeong(天然亭) and engaged in various leisure activities, and in Namji, there were many gatherings under a temporary shelter or at a friend's house near the pond. Night was the best time to enjoy Namji because during the day, the area was crowded with people, horses, carts and so on. Fourth, the landscapes of fortress walls were impressively described often. Fifth, because these ponds were integrated into the surrounding area, they were like public openspaces mixed with water spaces, natural environment and adjacent facilities. The lotus ponds of the Fortress Wall of Seoul were located in a place connecting inside and outside of fortress, supplemented the cultural features in city, were valued as public openspace, and made it possible to experience the unique landscape of Hanyang. Although these ponds were buried and have now disappeared, they still hold great cultural meaning and potential value as water landscapes of the old city.

• (The) Research of the performance art and culture
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• no.22
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• pp.287-325
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• 2011

This paper studies the time-space and appreciation of the performance culture of Gwanseo region, which is considered to have formed a characteristic culture in late Joseon period. For this purpose, 4 gasa written in hangeul (Korean alphabet), as well as 4 yeonhaeng gasa, 108 articles of Gwanseoakbu were examined. Plus, among the 9 types of yeonhaengrok (Documents of Performance culture) written in Chinese character, those parts which describe the performance traits have been analyzed. Then, 'main list of terminology' has been deduced based on the categorization according to the following points : 1) subjects of performance and appreciation 2) time and period of performance 3) space of performance 4) contents of performance 5) background and motive for performance and 6) method of performance. Through this process, various 'nouns' and 'predicate verbs' in relation to performance culture emerged, which were systemized according to types of performance elements and categories. Major terminology includes predicate verbs and symbolic verbs such as nokuihongsang,' 'baekdaehongjang,' 'jeolsaekgeumga,' 'cheonga,' 'hwaryu,' 'gamuja,' and 'tongsoja,' as well as the terms already known such as gisaeng, iwon, yangbang, akgong, and jeonak, which refer to musicians and dancers. Subjects of performance were divided into performers and listeners, categorized into concert, music, and dance, according to performance form. In the case for music, it was divided into instrumental or vocal, solo or accompanied (byeongju, self-accompaniment). In the case for vocal music, noteworthy was the inclusion of profesional artist's singing (called gwangdae or uchang). The record of 23 names of popular artists from Gwanseo region, with mention of special talents for each person, reflects the degree of activeness and artistic level of the province. Depending on the appreciating patrons, the audience were indicated as the terms including 'yugaek (party guest),' jwasang,' 'on jwaseok,' and 'sonnim (guests).' It seems that appraisal for a certain performance was very much affected by the tastes, views, and disposition of the appreciating patrons. Therefore it is interesting to observe different comparative reviews of concerts of different regions given by literary figures, offering various criticism on identical performance. In terms of performance space, it has been divided into natural or architectural space, doing justice to special performance sites such as a famous pavilion or an on-the-boat performance. Specific terms related to the scale and brightness of stage, as well as stage props and cast, based on descriptions of performance space were found. The performance space, including famous pavilions; Yeongwangjeong, Bubyeokru, Baeksangru, Wolparu, and Uigeomjeong, which are all well-known tourist sites of Gwanseo province, have been often visited by viceroys. governors, and envoys during a tour or trip. This, and the fact that full-scale performances were regularly held here, and that more than 15 different kinds of boats which were used for boat concert are mentioned, all confirm the general popularity of boat concerts at the time. Performance time, categorized by season or time of day (am/pm/night) and analyzed in terms of time of occurrence and duration, there were no special limitation as to when to have a performance. Most morning concerts were held as part of official duties for the envoys, after their meeting session, whereas evening concerts were more lengthy in duration, with a greater number of people in the audience. In the case of boat concert, samples include day-time concert and performances that began during the day and which lasted till later in the evening. Major terminology related to performance time and season includes descriptions of time of day (morning, evening, night) and mention of sunset, twilight, moonlight, stars, candles, and lamps. Such terms which reflect the flow of time contributed in making a concert more lively. Terminology for the contents of performance was mostly words like 'instrumental,' 'pungak,' or 'pungnyu.' Besides, contextual expressions gave hints as to whether there were dance, singing, ensemble, solo, and duets. Words for dance and singing used in Gwanseo province were almost identical to those used for gasa and jeongjae in the capital, Hanyang. However, many sentences reveal that performances of 'hangjangmu' of hongmunyeon, sword dance, and baettaragi were on a top-quality level. Moreover, chants in hanmun Chinese character and folk songs, which are characteristic for this region, show unique features of local musical performance. It is judged that understanding the purpose and background of a performance is important in grasping the foundation and continuity of local culture. Concerts were usually either related to official protocol for 'greeting,' 'sending-off,' 'reports,' and 'patrols' or for private enjoyment. The rituals for Gwanseo province characteristically features river crossing ceremony on the Daedong river, which has been closely documented by many. What is more, the Gwanseo region featured continued coming and goings of Pyeongan envoys and local officers, as well as ambassadors to and fro China, which required an organized and full-scale performance of music and dance. The method of performance varied from a large-scale, official ones, for which female entertainers and a great banquet in addition to musicians were required, to private gatherings that are more intimate. A performance may take the form of 'taking turns' or 'a competition,' reflecting the dynamic nature of the musical culture at the time. This study, which is deduction of terminology in relation to the time-space and appreciation culture of musical performances of Gwanseo region in late Joseon period, should be expanded in the future into research on 'the performance culture unique to Gwanseo region,' in relation to the financial and administrative aspects of the province, as well as everyday lifestyle. Furthermore, it could proceed to a more intensive research by a comparative study with related literary documents and pictorial data, which could serve as the foundation for understanding the use of space and stage, as well as the performance format characteristic to Korean traditional performing arts.

• The Journal of the Convergence on Culture Technology
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• v.8 no.5
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• pp.489-495
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• 2022

It makes difference to LSTM D/L(Deep Learning) results for language model construction as the corpus preprocess changes. An LSTM model was trained with a famouse literaure poems(Ki Hyung-do's work) for training corpus in the study. You get the two wordvector sets for two corpus sets of the original text and eraised word ending text each once D/L training completed. It's been inspected of the similarity/analogy operation results, the positions of the wordvectors in 2D plane and the generated texts by the language models for the two different corpus sets. The suggested words by the silmilarity/analogy operations are changed for the corpus sets but they are related well considering the corpus characteristics as a literature work. The positions of the wordvectors are different for each corpus sets but the words sustained the basic meanings and the generated texts are different for each corpus sets also but they have the taste of the original style. It's supposed that the D/L language model can be a useful tool to enjoy the literature in object and in diverse with the analysis results shown in the study.

• 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 the Korean Institute of Traditional Landscape Architecture
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• v.37 no.2
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• pp.30-39
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• 2019

In this study, 27 representative plants with symbolism and appreciation were extracted from 68 plants collected in Li Yu (1611-1680)'s monograph named 'Xianqingouji Zhongzhibu'. The interpretations were as follows. First, symbolism of plants could be summarized as 1) Li Yu thought that Paeonia suffruticosa was called 'the king of flowers', not only because of its beauty, but also because of its upright character. The only flower that could compete against Paeonia suffruticosa was Paeonia lactiflora Pall.. This flower was called 'the flower prime minister' by common people. But Li Yu thought that Paeonia lactiflora Pall. should also be included in the feudal princes. 2) Prunus persica and Camellia japonica were compared to 'beautiful cheeks', and Malus spectabilis (Ait.)Borkh, Jasminum sambac, Rosa multiflora var. platyphylla, Narcissus tazetta, Papaver rhoeas were compared to 'beautiful women', expressing his love for flowers. 3) Li Yu called Nelumbo nucifera a 'gentleman in flowers' and Buxus sinica Rehd. et Wils. Cheng a 'gentleman in trees'. On the contrary, Daphne odora was compared to 'villain in flowers'. 4) Ilex integra was compared to a hermit, and Campsis grandiflora was compared to an immortal. Second, appreciation of plants could be organized by 1) Appreciation of plants required assistive tools. When going to suburb to enjoy the scenery, tents needed to be prepared. Paper screens should be used to appreciate Prunus mume in the courtyard so as to gain more elegant. Li Yu also proposed that ornamental objects should be properly placed near Orchidaceae so as to gain more elegant. 2）Li Yu took Lagerstroemia indica and Prunus armeniaca L. as examples to interpret that plants were as perceptive as animals and human beings. 3) Li Yu took Salix pierotii and Albizia julibrissin as examples to interpret that people should communicate with plants through five senses to produce resonance. And took Nelumbo nucifera and Rosa rugosa to emphasize the ornamental and practical value of plants. 4) Plants were metaphored sth. similar to them. An interesting example was Celosia cristata L. which was more like an auspicious cloud in the sky than the crest on the cock's head. To sum up, Li Yu personified plants and thought that people should communicate with plants by multi-sensory world when appreciating plants. Through this, it fully showed his love for plants. Meanwhile, Li Yu's symbolism and appreciation of plants, to some extent, reflected the elegant life of literati in the early Qing Dynasty.

• Information and Communications Magazine
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• v.27 no.3
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• pp.17-22
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• 2010

최근 들어 3D에 관한 관심이 높아지면서 각종 기술적인 이슈는 물론 3D 콘텐츠의 제작 방향에 대한 논의가 활발하게 이루어지고 있다. 흔히들 3D 콘텐츠라고 부르는 것은 현재로선 어떤 특정한 장르나 엄정한 정의를 가진 용어라기보다는 일종의 새로운 매체기술을 위한, 매체 기준적인 콘텐츠의 분류 형태라고 볼 수 있을 것이다. 따라서 3D 콘텐츠라는 용어를 새로이 썼다고 해서 좋은 콘텐츠가 지녀야 할 근본적인 요소가 달라지는 것은 아니다. 물론 매체의 발전과 변화에 따라 대중들의 가치관, 예술적 시대적 패러다임, 근본적인 인간의 생활방식까지 바뀔 수 있다는 것은 자명한 사실이다. 이는 회화 문화에서 사진의 등장으로, 사진에서 동영상으로, 영화에서 TV와 비디오로, 그리고 아날로그에서 디지털로의 중심 이동이 인간의 삶에 얼마나 큰 변화를 초래했는지만 상기해봐도 쉽게 알 수 있다. 그러므로 3D기술이 가진 파급효과와 영향력이 어디까지인지 쉽게 단정할 수는 없는 것이다. 그러나 언급했듯이 어떤 콘텐츠라도 결국엔 인간이 향유하리란 점은 분명한 사실이다. 현재는 3D 콘텐츠의 제작 방향에 대해서 지나치게 매체 중심적으로 접근하려는 경향이 있는데, 역사적으로 언제나 인간에게 매력적이었던 콘텐츠의 기본은 변함이 없었다. 변하는 것은 오히려 매체나 기술, 하드웨어 쪽이었다. 따라서 콘텐츠를 매체에 이식하는 가변적인 내용물쯤으로 이해하는 기술중심의 사고에서, 인간이 근본적으로 원하는 이야기 콘텐츠를 구현하기 위해 매체가 변해왔다는 점을 이해해야 하는 콘텐츠 중심 사고도 할 필요가 있는 것이다. 본고에서는 과거 많은 매체들의 역사를 통해 새로운 매체 기반에서의 콘텐츠의 모습이 어떻게 변해왔는지를 되짚어 보려고 하며, 이를 통해 앞으로 3D 콘텐츠의 향방을 유추해 볼 기회를 마련하고자 한다.

• 한국벤처창업학회:학술대회논문집
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• 2006.11a
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• pp.161-195
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• 2006

비공개기업이 상장할 수 있는 방법은 신규상장(IPO)과 기존의 상장기업을 인수하여 소위 우회상장을 하는 방법이 있다. 전자는 제도에 의한 자본시장 진입인데 반해 후자는 시장거래에 의한 자본시장 진입이라는 점에서 후자가 시장원칙에 가깝다고 할 수 있다. 그럼에도 불구하고 상장사 인수는 부실기업이 자본시장에 진입하는 것을 차단할 수 있는 심사기능이 약하고, 시장진입 시 정보를 시장에 제공하는 정보기능이 약하다는 가정에 기초하여, 신규상장에 비해 비효율적이라는 주장이 제기될 수 있다. 따라서 상장사 인수가 신규상장에 비해 비효율적인 시장진입 방식인가에 대해서는 실증적인 고찰이 필요하다. 본 연구에서는 상장사 인수의 경우 상장사 기존주주의 부가 훼손되고, 신규상장에 비해 정보의 효율성도 떨어질 것이라는 가설을 세우고 실증분석을 해 보았다. 이를 위해 $2000{\sim}2005$년 6윌 기간에 비공개기업이 상장사 경영권을 인수한 사례를 가지고, 인수공시 전후의 비정상수익률을 측정하여 주주의 부에 미치는 영향을 측정하였다. 또한 인수공사일 종가를 시초가로 하는 향후의 장단기 초과수익률을 측정하여 이를 토대로 시장진입일 배포된 정보가 효율적이었는지를 알아보았다. 그리고 각각의 상장사 인수 사례에 대해 같은 시기, 같은 산업, 같은 시장에서 신규로 상장했던 종목을 모아 매칭샘플을 만들고 상장사 인수 샘플과 비교분석하였다. 그 결과 상장사 인수 시 상장사의 기존주주는 유의적인 자본이득을 향유함이 밝혀졌고, 정보의 효율성도 신규상장에 비해 유의적으로 낮다는 일관적인 증거를 찾지 못하였다. 다만 상장사 인수가 무자본 인수의 형태를 취할 때는 시장의 주의가 요망된다.

• Trans-
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• v.7
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• pp.1-17
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• 2019

In this study, it is recognized that the new social media has a great social impact and influence, and contemporary dance works that attempted to combine dance and media based on 'interview' are able to bring the value of dance art in a unique way. Currently, many art groups and choreographers are gradually awakening to the audience's thoughts by carefully studying new choreography techniques and forms in order to reach the audience effectively. These changes are meaningful and valuable as contents that will lead to diversification according to technological progress, industrialization of the 21st century, development of dance audience, expansion of stage, and enjoyment of dance arts. Therefore, it will be an inquiry study which analyzes through the literature and images of domestic and foreign dance works using interviews as a material, and finally examines what kind of choreography is used as the interview material in dance works and suggests its effectiveness.

• Journal of Industrial Convergence
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• v.17 no.4
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• pp.15-20
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• 2019

Augmented reality is used in various fields such as culture, education, military, medical. This is a method of recognizing information of an augmented object on the camera. Exhibitions and educational contents for children are already produced in various ways. This research showed the developed contents deliver cultural property information using augmented reality. 'Galgibi AR' and 'Jang Young-sil's Invention AR' allow you to experience cultural assets up close. 'Galgibi AR' is the experience content in the form of 3D blocks. It makes to understand the structure of the zeolite, Galgibi. 'Jang Young-sil's Invention AR' make you to watch out four objects in detail by zooming in, zooming out and rotating. It can also take pictures with the inventions. Both contents implement what we want to deliver accurately through simple content. They increase the enjoyment of cultural heritage through experience contents. This research addressed to help the cultural property information spread to the public by using Augmented Reality.

• Journal of Korea Port Economic Association
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• v.25 no.2
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• pp.231-246
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• 2009

The time charterer depends on speed and bunker consumption rate of time chartered vessel because it is related charterers' benefit. It is important role of stipulated speed and daily bunker consumption rate at the Time Charter Party, it is generated any dispute against speed and daily bunker consumption rate deficiency. The case of dispute is a restricted word of stipulated speed and daily bunker consumption rate at Charter Party as "about", "good weather or good weather day", "smooth water", "ocean current" and "without guarantee". It happens a dispute against speed and daily bunker consumption rate because it is not well-educated as a vessel operator regarding Time Charter Party interpretation.