• The Science & Technology
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• v.32 no.6 s.361
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• pp.16-17
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• 1999

유전자치료시대의 막이 오르면 태아의 결함이 바로잡는 것은 물론 태어날 아기에게 장수와 높은 지능지수(IQ) 그리고 미모와 좋은 성격까지 얹어줄 수 있는 길이 열릴지 모른다.

• Nuclear industry
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• v.17 no.10 s.176
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• pp.7-16
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• 1997

• Ingenium
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• v.17 no.1
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• pp.14-16
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• 2010

• Sijohaknonchong
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• v.22
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• pp.195-223
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• 2005

The Younsijo is a stream of Korean poem. not simply an aggregate of stanzas, but an organic structure. Younsijo was an appeared in the 16th century. The 16th century was focused on the literature of Sadaebu (noble family, 사대부). And the make an appearance is Danhyungsijo (simply-sijo, 단형시조), Yonsijo and Kasa(가사). In that case, a social stratum is why does singing each other form. The 16th century set metaphysics(성리학) as the national ideology. Metaphysics became most prevalent at the end of the 16th century. Yonsijo also appreared during the 16th century and was closeiy related to the idea of metaphysics. Both Younsijo and metaphysics were formulated by noble family, The Yonsijo was Formed in 16th century. And the 17th century was succession. The Yonsijo in 16th century is devide to Kanghosijo (강호시조) and Hunminsijo (훈민시조). Also, Kanghosijo is devide to Youkgaline Younsijo (육가계 연시조) and Sasigaline Yonsijo (사시가계 연시조). Hunminsijo used an expressive on the order of Oryoun(오륜). Therefore, this study is forced on , , and . These things, all of the end of the utility. This paper deals with Danhyungsijo and Kasa with main emphasis on works of Songgang(송강) Jungcheol(정철). The reason for dealing one writer's works is the discussion needs consistent standard. In analyzing Songgang's Danhyungsijo, Younsijoand and Kasa, one would discern the differences among three. As a result, one could conclude that both Danhyungsijo and Kasa mainly projects individual's emotional esthetic feeling, particularly, Danhyungsijo for emotional implication, and for in-depth emotional revealing. Younsijo were chosen as it supplements the shortcoming of Sijo(as it consists of three-line only) to effectively contain the ideas of metaphysics.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.1
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• pp.10-24
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• 2017

The research takes note of the formation process and settling period of Gwandong-Palkyung(關東八景, Eight Sites of Eastern Korea), the representative palgyeong(prominent eight sites) and jipgyeong(集景, landscape collection of scenic beauty), and investigates the time of formation regarding the palkyung and jipgeyong of Gwandong's scenic beauty through the analysis and interpretation of bibliographic data, and reference data. The result of the study is as follows. As the first document that records the terminology of "Gwandong-Palkyung" is "Daphongeunggil(答洪應吉)" of Yi, Hwang(李滉), Gwandong-Palkyung is inferred to be settled within the recognition of the people even before the 16th century. The geographic analysis result including "Sinjeung Donggukyeojiseungram(新增東國輿地勝覽)", Gwandong-Palkyung expanded as Gwandong-Sipkyung in early to middle of the 16th century. The first confirmed landscape collection regarding Gwandong-Palkyung in this study is confirmed in Shin Zup(申楫)'s "Yeonggwandong-Palkyung(詠關東八景)", thus, the terminology of Gwandong-Palkyung existed before 16th century at the latest. The settlement time of current "Palkyung" collection is estimated to be early 17th century at the latest. Poetries regarding Gwandong-Palkyung, and the frequency on the appearance of Gwandong scenic beauties are analyzed as making clear of the concentrated phenomenon on the sceneries of Gwandong-Palkyung. On the other hand, the collection of Gwandong-Palkyung in the domain of arts is confirmed initially in the ${\ll}$Gwandongpalkyungdobyeong(關東八景圖屛)${\gg}$ of Heo, Pil(許泌). Gwandong-Palkyung, expressed as the actual scene landscape painting shows similar tendencies of the conditions in the jipgyeong from the poetry, but the appearance rate of the painting subject was more prominent in visual solidarity and cohesion due to the reflection of the importance on icon(圖像) of the art works produced with particular meaning in the case of fixed ideal system. From late Joseon to modern times, ${\ll}$palpokbyeongpung(八幅屛風)${\gg}$ of various forms of folk painting is a corroborative evidence notifying that the cultural phenomenon of Gwandong-Palkyung has entered the universal period of embrace. Also, the 13 scenic beauties of Gangwon-Do appearing in the games of Namseungdo and Myeongseungyuramdo include Gwandong-Palkyung, which confirms the settlement of Gwandog-Palkyung even within the culture of games in late Joseon. Such results demonstrate the existence of awareness regarding Gwandong-Palkyung from the first half of the 15th century, which is presumed to have completely settled in the 17th century through the continuous development of formative process in the 16th century. Ultimately, Gwandong-Palkyung is the concrete formation of regional scenic beauties that individually gained its reputations as scenery from the Koryo Dynasty to late 17th century. Gwandong-Palkyung of the scenic beauty of Gwandong is a unique cultural scenery of the region that have germinated and formed through the process of cutting and polishing of long time to collect the best eight of scenic beauty from the many participation of sightseeing culture.

• Journal of Korean Library and Information Science Society
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• v.38 no.1
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• pp.363-373
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• 2007

Sulwhaji(雪花紙, meaning "snow-white flower paper") had been originally manufactured before 16th century until after 19th century in Pyunggang, Korea, which represented the typical characteristics of traditional Korean paper. Since 17th century, however, it had been also made in Namwon, Sunchang, Jinju and so on. Its material was mulberry bark tree and was bleached beautifully white by using snow. It was highly qualified mainly used for painting, caligraphy, and book printing. That had been used in the Royal palace and as cherished gift for foreign envoys.

• Proceedings of the Korea Society of Costume Conference
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• 2004.08a
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• pp.340-341
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• 2004

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.3
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• pp.49-61
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• 2019

This study aims to examine the spatial recognition of the characters who visited Anuisamdong(安義三洞) in the past and left it in the literature. Thus, the school's relationship between people identified in the relevant literature was analyzed and the elements of landscape were extracted. The results were as follows; First, The figures who authored the literature on Anuisamdong were related to scholars living in Anuihyun(安義縣), along with the Yeongnam confucian genealogy. Starting with Jung, Yeo-Chang(鄭汝昌) in the 15th century, a relationship centered on Nammyeong School(南溟學派) in the 16th century was formed. At that time, people had toured the Anuisamdong regardless of the academic background. In the 17th century, Nammyeong School were in conflict with Toegye School(退溪學派), so Toegye School's influence had no record. In the 18th century, the proportion of Nammyeong School, Toegye School, and Kiho School(畿湖學派) appeared similar as they evolved into the Yeongnam School(嶺南學派). After the 19th century, the proportion of patriots who participated in the anti-Japanese movement was higher than that of schools. Second, The main places used in the literature related to Anuisamdongwere the order of Wonhakdong(猿鶴洞), Hwrimdong(花林洞) and Simjindong(尋眞洞). There are a total of 21 major elements used for the related literature, of which Suseungdae Rock(搜勝臺), Morijae House(某里齋), Nongwaljeong Pavilion(弄月亭), Sasundae Rock(四仙臺) and Cheoksuam Rock(滌愁巖) were the main subjects. Elements of Wonhakdong have been in the spotlight since the 16th century, focusing on Suseungdae Rock. Although the elements of Hwarimdong have been increasing gradually since the 18th century, the ratio of Simjindong to Wonhakdong and Hwarimdong was relatively small. Third, The relationship between the figures who visited the Anuisamdong and the spatial recognition of the Anuisamdong was divided into landscape awareness, emotional awareness and symbolic recognition. The Anuisamdong's scenic view is mostly identified by its description of the waterscape and topographical landscape, which people may have perceived as a scenic site centered on the valley view at the time. The mutual influence of Nammyeong School and Toegye School in the 16th and 17th centuries led to a scene in which the major figures of each school recognized pleasure as a culture of training, and a feeling of longing for the traces of past ancestors as the 18th century travel culture and the 19th century chaotic situation. In addition, the symbolic expression that usually appears is likely to have been recognized as a unworldly place, as the location of the immortal world is confirmed.

• (The)Study of the Eastern Classic
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• no.41
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• pp.61-90
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• 2010

In this paper, I focused on analyzing Yeoheon Chang Hyeon-gwang's literary theory and his prose in the genealogy of Confucian scholars in Chosun. Through this study, I would like to examine the trend of concentrating on 16th century when we treat the literary tendency of Confucian scholars. With this goal, I tried to seek the direction which was pursued by Confucian scholars who lived during the 17th century. Yeoheon tried to construct the spirit of humanities cosmically as an aim of his life, study, and literature. And he had a new understanding of human independence by suffering from Japanese invasion in the late of 16th century. He insisted that only human can realize the spirit of humanities on a cosmic base. He also thought that the morality(道) could be settled only by literature(文). We may interpret this concept as a progressive idea about literature comparing to the former Confucian scholars. On the other hands, Yeoheon tried to accept the literary theory of former scholars such like Park Young, Cho Sik, and Seong Woon who embraced Taoism. Yet he erased the color of Taoism in the field of topic, and he also tried to keep his distance from them in the field of literary form. This concept actually came from Lee Hwang's opinion, while Yeoheon tried to rouse scholar's independence. Through above, we may realize that the Confucian scholars of 17th century were not just imitators of 16th century. They tried to examine the former study and also tried to renew the theory.

• Journal of Korean Library and Information Science Society
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• v.6
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• pp.141-158
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• 1979

This is a bibliographical study of the editions of the Hsin-Ching-Fu-Chu published between 16th and 17th centuries, together with the postscript written by Yi-Hwang. For this research, 14 kinds of the editions are studied, the results of which are analyzed as follows; (1) The publishing date: 2kinds of the editions are published before 1969, and 12 kinds after 1569 when Yi-Hwng died. (2) The method of publishing: 2 kinds were printed by movable types, the others by block-plates. (3) The publishing place: 12 kinds were put out in Korea, and 2 kinds in Japan. The publishing places of 6 kinds of Korean editions are known. They are Muncheon-Gun, Gyoseokwan, etc.., For other 6 kinds of Korean editions, the publishing places are unknown. (4) 6 kinds of editions were printed in the double-border-line style, and consisted of 10 lines, each line having 17 characters. Such forms are regarded as the traces of the printing style of Gyoseokwan. One kind of editions was printed with single-border-line.