• (The)Study of the Eastern Classic
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• no.72
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• pp.365-400
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• 2018

The signs of $G{\bar{a}}nzh{\bar{i}}$(干支: the sexagesimal calendar system) almanac, which marked each year, month, day and time with 60 ordinal number marks made by combining 10 $Ti{\bar{a}}ng{\bar{a}}ns$(天干: the decimal notation to mark date) and 12 $D{\grave{i}}zh{\bar{i}}s$(地支 : the duodecimal notation to mark date), were used not only as the sign of the factors affecting the occurrence of a disease and treatment in the area of traditional oriental medicine, but also as the indicator of prejudging fortunes in different areas of future prediction techniques.(for instance, astrology, the theory of divination based on topography, four pillars of destiny and etc.) While theories of many future predictive technologies with this $G{\bar{a}}nzh{\bar{i}}$(干支) almanac signs as the standard had been established in many ways by Han dynasty, it is difficult to find almanac discussion later on the fundamental theory of 'how it works like that'. As for the method to mark the era of $Ti{\bar{a}}nt{\check{i}}l{\grave{i}}$(天體曆: a calendar made with the sidereal period of Jupiter and the Sun), which determines the name of a year depending on where $Su{\grave{i}}x{\bar{i}}ng$(歲星: Jupiter) is among the '12 positions of zodiac', there are three main ways of $$Su{\grave{i}}x{\bar{i}}ng-J{\grave{i}}ni{\acute{a}}nf{\check{a}}$$(歲星紀年法: the way to mark an era by the location of Jupiter on the celestial sphere), $$T{\grave{a}}isu{\grave{i}}-J{\grave{i}}ni{\acute{a}}nf{\check{a}}$$ (太歲紀年法: the way to mark an era by the location facing the location of Jupiter on the celestial sphere) and $$G{\bar{a}}nzh{\bar{i}}-J{\grave{i}}ni{\acute{a}}nf{\check{a}}$$(干支紀年法: the way to mark an era with Ganzhi marks). Regarding $$G{\bar{a}}nzh{\bar{i}}-J{\grave{i}}ni{\acute{a}}nf{\check{a}}$$(干支紀年法), which is actually the same way to mark an era as $$T{\grave{a}}isu{\grave{i}}-J{\grave{i}}ni{\acute{a}}nf{\check{a}}$$(太歲紀年法) with the only difference in the name, there are more than three ways, and one of them has continued to be used in China, Korea and so on since Han dynasty. The name of year of $G{\bar{a}}nzh{\bar{i}}$(干支) this year, 2018, has become $W{\grave{u}}-X{\bar{u}}$(戊戌) just by 'accident'. Therefore, in this discussion, the need to realize this situation was emphasized in different areas of traditional techniques of future prediction in which distinct theories have been established with the $G{\bar{a}}nzh{\bar{i}}$(干支) mark of year, month, day and time. Because of the 1 sidereal period of Jupiter, which is a little bit shorter than 12 years, once about one thousand years, 'the location of Jupiter on the zodiac' and 'the name of a year of 12 $D{\grave{i}}zh{\bar{i}}s$(地支) marks' accord with each other just for about 85 years, and it has been verified that recent dozens of years are the very period. In addition, appropriate methods of observing the the twenty-eight lunar mansions were elucidated. As $G{\bar{a}}nzh{\bar{i}}$(干支) almanac is related to the theoretical foundation of traditional medical practice as well as various techniques of future prediction, in-depth study on the fundamental theory of ancient $Ti{\bar{a}}nt{\check{i}}l{\grave{i}}$(天體曆) cannot be neglected for the succession and development of traditional oriental study and culture, too.

• Asia-Pacific Journal of Business Venturing and Entrepreneurship
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• v.16 no.3
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• pp.193-211
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• 2021

Recently, interest in Korean Wave craze and K-beauty, led by K-pop, is increasing. In addition, the popularity and influence of the domestic beauty service industry has increased, and the economic and cultural ripple effects have been continuously expanding. The need to professional manpower training in response to the demand for manpower due to the growing development of domestic beauty services is emphasized, and the number of trainees who are actual consumers of beauty academy is increasing. Therefore, the purpose of our study is to examine the importance of quality factors of educational services to achieve educational purposes in the educational services provided by the Beauty Academy and the relationship between relationship commitment and educational service performance. Furthermore, it is to draw the importance of administrative support services, educational programs as well as educational service provision activities. However, the research for professional manpower training according to the provision of beauty services is insufficient compared to the development speed of the beauty industry. Therefore, at the present time when beauty service education is emphasized, our study will examine the relationship between relationship commitment and educational service performance based on the quality of education service by the students of domestic beauty academy. The measurement variables set for our study are program, instructor quality, tuition, external service, service fairness, relationship commitment, trust level, and educational service performance. The variables were analyzed and derived through the survey, and the following contents were derived from the empirical analysis. First, the quality of education service provided by the beauty academy, such as program, external service, service fairness, relationship commitment and trust level, had a significant effect on relationship commitment. Educational services provided by the institute, such as the systematicity and diversity of educational programs, enabled students to have a uniform relationship commitment. The quality of education service itself is to learn the expertise necessary for providing beauty service from the standpoint of the students and play an organic role in the relationship with the institute. Second, the moderating effect of trust level between academies and students was significant in the quality of education service and the relationship commitment. This means that students will feel higher level of service quality through the practical trust relationship of the students about the educational services provided by the institute. Based on the results of the empirical analysis, the implications of our study are to find ways to improve the students' ability and satisfaction represented by the results of educational services. This is because the quality of education services provided by the institute called Beauty Academy will have a great impact on the career choice of educational facilities and students. The characteristics of consistency, convenience, and knowledge orientation of education itself should be considered comprehensively, and a strong market position should be established through image formation through external service factors, which are external environments of academies.Furthermore, in terms of presenting differentiated strategies with competitors, the educational service quality factors play a significant role in the commitment to the relationship with the students, so the role of relationship marketing will be important for the psychological stability experienced by the students by grasping the demand accompanying the behavior of the students in advance.

• Journal of Intelligence and Information Systems
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• v.27 no.2
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• pp.55-78
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• 2021

Tosolve complex and diverse social problems and ensure the quality of life of individuals, social robots that can interact with humans are attracting attention. In the past, robots were recognized as beings that provide labor force as they put into industrial sites on behalf of humans. However, the concept of today's robot has been extended to social robots that coexist with humans and enable social interaction with the advent of Smart technology, which is considered an important driver in most industries. Specifically, there are service robots that respond to customers, the robots that have the purpose of edutainment, and the emotionalrobots that can interact with humans intimately. However, popularization of robots is not felt despite the current information environment in the modern ICT service environment and the 4th industrial revolution. Considering social interaction with users which is an important function of social robots, not only the technology of the robots but also other factors should be considered. The design elements of the robot are more important than other factors tomake consumers purchase essentially a social robot. In fact, existing studies on social robots are at the level of proposing "robot development methodology" or testing the effects provided by social robots to users in pieces. On the other hand, consumer emotions felt from the robot's appearance has an important influence in the process of forming user's perception, reasoning, evaluation and expectation. Furthermore, it can affect attitude toward robots and good feeling and performance reasoning, etc. Therefore, this study aims to verify the effect of appearance of social robot and consumer emotions on consumer's attitude toward social robot. At this time, a social robot design evaluation model is constructed by combining heterogeneous data from different sources. Specifically, the three quantitative indicator data for the appearance of social robots from the ABOT Database is included in the model. The consumer emotions of social robot design has been collected through (1) the existing design evaluation literature and (2) online buzzsuch as product reviews and blogs, (3) qualitative interviews for social robot design. Later, we collected the score of consumer emotions and attitudes toward various social robots through a large-scale consumer survey. First, we have derived the six major dimensions of consumer emotions for 23 pieces of detailed emotions through dimension reduction methodology. Then, statistical analysis was performed to verify the effect of derived consumer emotionson attitude toward social robots. Finally, the moderated regression analysis was performed to verify the effect of quantitatively collected indicators of social robot appearance on the relationship between consumer emotions and attitudes toward social robots. Interestingly, several significant moderation effects were identified, these effects are visualized with two-way interaction effect to interpret them from multidisciplinary perspectives. This study has theoretical contributions from the perspective of empirically verifying all stages from technical properties to consumer's emotion and attitudes toward social robots by linking the data from heterogeneous sources. It has practical significance that the result helps to develop the design guidelines based on consumer emotions in the design stage of social robot development.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.176-199
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• 2020

In 2018, the National Museum of Korea purchased a pair of Japanese folding screens, respectively entitled Gathering on the Year's First "Day of the Rat" and Boating on the Oi River. Both of these two screens (hereinafter collectively referred to as the "NMK edition") have a gold background that bears the seal and ink inscription of Tosa Mitsuyoshi (1700-1772), who served as edokoro azukari, a painter in the court of Kyoto. According to the seller in New York, the screens were brought from Japan to the United States in the early twentieth century, but no other details are known. Each folding screen has six panels. The screen on the right (i.e., Gathering…) depicts "nenohi no asobi," an annual event conducted on the first "day of the rat" (according to the Asian zodiacal calendar), wherein the Kyoto imperial court ventured to the woods to gather pine seedlings. The left screen (i.e., Boating…) shows three boats traveling down the Oi River in Kyoto, representing the ritual known as "mifune" (literally, "three boats"), which involves three boats representing Chinese classical poetry (kansi), Japanese classical poetry (waka), and Japanese imperial music and dance (gagaku). Notably, these two screens are identical in theme and iconography to two screens with the same respective titles that were commissioned by Emperor Komei (1831-1867) and painted by Ukita Ikkei (1795-1859), an artist of the Yamato-e Revivalist School (fukko yamato-e), now in the collection of Sennyu-ji Temple in Kyoto (hereinafter collectively referred to as the "Sennyu edition"). While both of these themes have been painted independently numerous times, the NMK edition and Sennyu edition are the only known cases of the themes being painted as a single set. According to Diary of Official Business Between the Court and Shogunate (the journal of a court official named Hirohashi Kanetane, 1715-1781), Tosa Mitsuyoshi was commissioned in 1760 to replace the fusuma (rectangular sliding panels) of Tsunegoten, one of the buildings of the Kyoto Imperial Palace, which had been built in 1709. Notably, records show that Tsunegoten once contained a series of fusuma painted by an artist of the Kano school on the themes "Outdoor Procession on a Spring Day" and "Three Boats Cruising on the Oi River." Hence, it seems probable that Tosa Mitsuyoshi was influenced by the theme and iconography of the existing fusuma in producing his own folding screens depicting the court's visit to the forest and a cruise on the Oi River. While the practice of collecting pine seedlings on the first "rat day" of the year was an auspicious event to pray for longevity, the mifune ritual was intended to honor the greatest talents of the three aforementioned arts, which were of crucial importance to the court of Kyoto. Folding screens with such auspicious themes were commonly featured at the ceremony to enthrone the emperor or empress. Significantly, the Diary of Official Business Between the Court and Shogunate also records that Tosa Mitsuyoshi, while working as a court artist, produced two pairs of folding screens for the coronation of Empress Go Sakuramachi (1762-1771), which was held in 1763. Hence, research suggests that the NMK edition is one of the pairs of royal folding screens produced at that time.

• MISULJARYO - National Museum of Korea Art Journal
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• v.100
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• pp.50-80
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• 2021

This paper critically examines the history of the theories connected to the Wongaksa Temple Pagoda that have developed over the last 100 years focusing on the original number of stories the pagoda would have reached. Part II of this paper retraces the dynamic process of the rediscovery of the Wongaksa Temple Pagoda by Westerners who traveled to Korea during the port-opening period. Koreans at the time viewed the Wongaksa Temple Pagoda as an object of no particular appeal or even as an eyesore. However, Westerners appreciated it as a wonder or magnificent sight. Since these Westerners had almost no prior knowledge of Buddhist pagodas, they were able to write objective travelogues. At the time, these visitors generally accepted the theory common among Joseon intellectuals that Wongaksa Temple Pagoda once had thirteen stories. Part III focuses on Japanese government-affiliated scholars' academic research on the Wongaksa Temple Pagoda after the proclamation of the Korean Empire and the Japanese Government-General of Korea's subsequent management of the pagoda as a cultural property during the colonial era. It also discusses issues with Japanese academic research and management. In particular, this portion sheds light on the shift in theories about the original number of stories of the Wongaksa Temple Pagoda from the ten-story theory supported by Sekino Tadashi (關野 貞), whose ideas have held a great influence on this issue over the last 100 years, to the thirteen-story theory and then to the idea that it had more than thirteen. Finally, Part IV addresses the change from the multi-story theory to the ten-story theory in the years after Korea's liberation from Japan until 1962. Moreover, it highlights how Korean intellectuals of the Japanese colonial era predominantly accepted the thirteen-story theory. Since 1962, a considerable quantity of significant research on the Wongaksa Temple Pagoda has been published. However, since most of these studies have applied the ten-story theory suggested in 1962, they are not individually discussed in this paper. This retracing of the history of theories about the Wongaksa Temple Pagoda has verified that although there are reasonable grounds for supporting the thirteen-story theory, it has not been proved in the last 100 years. Moreover, the number of pagoda stories has not been fully discussed in academia. The common theory that both Wongaksa Temple Pagoda and Gyeongcheonsa Temple Pagoda were ten-story pagodas was first formulated by Sekino Tadashi 100 years ago. Since the abrasion of the Wongaksa Temple Stele was so severe the inscriptions on the stele were almost illegible, Sekino argued that the Wongaksa Temple Pagoda was a ten-story pagoda based on an architectural analysis of the then-current condition of the pagoda. Immediately after Sekino presented his argument, a woodblock-printed version of the inscriptions on the Wongaksa Temple Stele was found. This version included a phrase that a thirteen-story pagoda had been erected. In a similar vein, the Dongguk yeoji seungnam (Geographic Encyclopedia of Korea) published by the orders of King Seongjong in the late fifteenth century documented that Gyeongcheonsa Temple Pagoda, the model for the Wongaksa Temple Pagoda, was also a thirteen-story pagoda. The Wongaksa Temple Stele erected on the orders of King Sejo after the establishment of the Wongaksa Temple Pagoda evidently shows that Sekino's ten-story premise is flawed. Sekino himself wrote that "as [the pagoda] consists of a three-story stereobate and a ten-story body, people call it a thirteen-story pagoda," although he viewed the number of stories of the pagoda body as that of the entire pagoda. The inscriptions on the Wongaksa Temple Stele also clearly indicate that the king ordered the construction of the Wongaksa Temple Pagoda as a thirteen-story pagoda. Although unprecedented, this thirteen-story pagoda comprised a ten-story pagoda body over a three-story stereobate. Why would King Sejo have built a thirteen-story pagoda in an unusual form consisting of a ten-story body on top of a three-story stereobate? In order to fully understand King Sejo's intention in building a thirteen-story pagoda, analyzing the Wongaksa Temple Pagoda is necessary. This begins with the restoration of its original name. I disprove Sekino's ten-story theory built upon flawed premises and an eclectic over-thirteen-story theory and urge applying the thirteen-story theory, as the inscriptions on the Wongaksa Temple Stele stated that the pagoda was originally built as a thirteen-story pagoda.

• Journal of Nutrition and Health
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• v.55 no.4
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• pp.476-491
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• 2022

Purpose: The purpose of this study was to evaluate the energy and nutrient contents of home meal replacement (HMR) rice products per single serving package based on nutrition labels. Methods: The market research was conducted from February to July 2021 on products sold on the internet, at convenience stores, etc. A total of 406 products were investigated. The products were divided into the following 6 classifications: instant rice (n = 45), cup rice (n = 64), frozen rice (n = 188), rice bowls with toppings (n = 32), gimbap (n = 38), and triangular gimbap (n = 39). Results: The mean packaging weight per serving was the highest in the rice bowl with toppings at 297.1 g, followed by cup rice (264.0 g), frozen rice (239.5 g), gimbap (230.2 g), instant rice (193.4 g), and triangular gimbap (121.6 g) (p < 0.001). The energy per serving package for the rice bowl with toppings was significantly the highest at 496.0 kcal (p < 0.001). The sodium content per serving package of gimbap was the highest at 1,021.8 mg and that of the instant rice was lowest at 37.4 mg (p < 0.001). The price per serving package of the rice bowl with toppings at 4,333.8 won was the highest. The contribution to the daily nutritional value per serving package of all types of HMR rice products surveyed showed an average range of 10-25% for energy, 11-22% for carbohydrates, and 2-51% for sodium. Conclusion: These results indicate the energy and nutrient contents of HMR rice products, vary by type. Therefore, consumers should review the nutrition labeling to select an appropriate HMR rice product based on their intended consumption.

• Journal of the Daesoon Academy of Sciences
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• v.29
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• pp.71-100
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• 2017

This study focuses on examining 'the Supreme God and Celestial Worthy of the Ninth Heaven Who Spreads the Sound of the Thunder Corresponding to Primordial Origin', which Daesoon Jinrihoe believes in as the highest divinity. The name of this divinity was first found in Chinese Daoist scriptures. This study starts by considering the global propagation of virtue and then research connected to this topic. There are two alternative names for this divinity in relation to his human avatar, Kang Jeungsan, the subject of faith in Daesoon Jinrihoe. One is 'the Lord God of Great Creation in the Ninth Heaven' meaning the divinity before assuming a human avatar, and the other is 'the Celestial Worthy of Universal Transformation' the same divinity after he discarded his human avatar and returned to his celestial post. To understand how the belief system of Daesoon Jinrihoe differs from that of Daoism, it is necessary to study the divinity's change from being 'the Lord God of Great Creation in the Ninth Heaven' to becoming 'the Celestial Worthy of Universal Transformation'. If this distinction is not made clear, it brings about confusing arguments concerning the term 'Supreme God (Sangje)' as used in Daoism and Daesoon Jinrihoe. In order to offer a specific explanation, this study suggests three possible directions. The first hypothesis is that although these two names, 'the Celestial Worthy of the Ninth Heaven Who Spreads the Sound of the Thunder Corresponding to Primordial Origin' from Daoism and 'the Supreme God of the Ninth Heaven Who Spreads the Sound of the Thunder Corresponding to Primordial Origin' from Daesoon Jinrihoe, are similar, they actually have nothing to do with one another. The second hypothesis is that they are in fact the same divinity. Lastly, the third hypothesis is that they are closely connected, however, the former (the Celestial Worthy of the Ninth Heaven Who Spreads the Sound of the Thunder Corresponding to Primordial Origin) is a position needed to fulfill the mission of Jeungsan, whereas the latter (the Supreme God of the Ninth Heaven Who Spreads the Sound of the Thunder Corresponding to Primordial Origin) is a name received after the human avatar passes and the deity returns to the Noebu, 'the department of lightning'. These hypotheses face certain problems such as arbitrary mixing, the need for the theoretical clarity, and argumental weakness. Therefore, by leaving some unresolved questions, this study encourages future follow-up studies.

• (The) Research of the performance art and culture
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• no.41
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• pp.285-320
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• 2020

This study aims to examine the processes of changes of the two main roles, Sangjwa(the young Buddist monk) chum and Omjung(the monk with a boil on his face) chum, performed in Yangju Byeolsandae Nori, on the basis of Chumsawi (dance-movement). Above all, having studied many artistic remains performed by Jo jong sun, Jung han gyu, Park jun seup, Kim sung tae from 1929 to 1942, two main roles, in which Geodeureum chum is now an essential part in almost all performances, were then played only in Kkaekki chum to Taryong Jangdan without performances of Geodeureum chum. In case of Sangjwa chum, players had performed ad libitum and without restraint only on the basis of five sorts of Kkaekki chum's movements. In Omjung chum, witty remarks along with the drama had become more important factors than dances. Let alone two main roles, other parts then also showed no big changes in dance performance. Performers just tried to maintain its slender existence within stifling atmosphere because of oppressions and restraints during the Japanese imperialism. After the restoration of independence in 1945, Kim sung tae and his disciples made a great effort on the restoration of Talnori. During the Korean war, many players also endeavored to keep a good track of Talnori, teaching and training their young followers. Especially performers such as Park jun seup, Park sang hwan, Kim sung tae, and Lee jang sun put much more efforts on restoring Talnori. From that time, Geodeureum chum began to appear in two main roles' performances. In Sangjwa's performances, Byeogsa ritual dance, which was performed to Taryong Jangdan, changed into performances to Yeombul Jangdan, and Kkaekki chum -originally slow and ritual dance, became very fast and active one. Geodeureum chum, called Yongteulim, was added in Omjung chum, so that dance had more important role in performance. Even at this time, dance movements were not clearly and completely organized and arranged, because Geodeureum chum's performance was not clearly defined as orderly dance movements but was regarded as just a movement. After Geodeureum chum being designated as a cultural treasure, Lee byeong kwon took over the task from Park sang hwan, Sangjwa chum's performer, so Geodeureum chum became much more well organzied, arranged and orderly. Geodeureum chum played by Sangjwa had almost the same order of scenes and movements as Geodeureum chum played by Yeonnip. Based on this performance, the order of dances and movements was consistently arranged and settled. Following Park jun seup's performances, Jangsam was more widely applied and used in Omjung chum than ever before, so Omjung chum became much more organized and arranged. Well-arranged Omjung chum had also almost the same dances and movements as Nojang chum's. Yeonnip and Nojang's performances were not directly and intentionally studied and applied to two main roles in Yangju Byeolsandae Nori. Players seemed to borrow those parts naturally through many times of performances. Through their persistent efforts, Jangdan and dance movements have more clearly and completely been organized, establied, and improved through many years' performances. And dance movement can be performed exactly to Jangdan, so we have more complete and orderly types of dance movements. Thanks to many performers' efforts, Sangjwa chum has been established as one that only top performer can play, and Omjung chum has become an integral part in Yangju Byeolsandae Nori.

• Journal of Intelligence and Information Systems
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• v.28 no.1
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• pp.155-174
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• 2022

From January 2020 to October 2021, more than 500,000 academic studies related to COVID-19 (Coronavirus-2, a fatal respiratory syndrome) have been published. The rapid increase in the number of papers related to COVID-19 is putting time and technical constraints on healthcare professionals and policy makers to quickly find important research. Therefore, in this study, we propose a method of extracting useful information from text data of extensive literature using LDA and Word2vec algorithm. Papers related to keywords to be searched were extracted from papers related to COVID-19, and detailed topics were identified. The data used the CORD-19 data set on Kaggle, a free academic resource prepared by major research groups and the White House to respond to the COVID-19 pandemic, updated weekly. The research methods are divided into two main categories. First, 41,062 articles were collected through data filtering and pre-processing of the abstracts of 47,110 academic papers including full text. For this purpose, the number of publications related to COVID-19 by year was analyzed through exploratory data analysis using a Python program, and the top 10 journals under active research were identified. LDA and Word2vec algorithm were used to derive research topics related to COVID-19, and after analyzing related words, similarity was measured. Second, papers containing 'vaccine' and 'treatment' were extracted from among the topics derived from all papers, and a total of 4,555 papers related to 'vaccine' and 5,971 papers related to 'treatment' were extracted. did For each collected paper, detailed topics were analyzed using LDA and Word2vec algorithms, and a clustering method through PCA dimension reduction was applied to visualize groups of papers with similar themes using the t-SNE algorithm. A noteworthy point from the results of this study is that the topics that were not derived from the topics derived for all papers being researched in relation to COVID-19 (