• Archives of design research
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• v.19 no.5 s.67
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• pp.269-280
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• 2006

In the 21st century, a nation's industrial success will depend on her cultural industry. Thus, Korea has been investing much in the cultural contents industry, expecting high. A nation's potential in the industrial contents industry will be determined by 1) IT infrastructure, 2) digital convergence, 3) rich cultural heritage and 4) government's effective policies. Nevertheless, our cultural contents industry is not as much homogeneous as that of the United States or Japan, but only some parts of it have grown much. So, our cultural contents industry is not very stable, which means that it would grow in a short term but not in a long term. One of the ways to promote the cultural contents industry effectively may be derived from Jean Baudrilliard's theory of simulacra. The aim of this study is to review the ultimate simulacra required of our cultural contents industry, focusing on Disneyland which Jean Baudrilliard emphasizes as the most perfect simulacra.

• Proceedings of the Korean Institute of Navigation and Port Research Conference
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• 2018.05a
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• pp.17-18
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• 2018

19세기 이전부터 유럽에서는 해양치유자원을 이용한 치유요법인 탈라소테라피(Thalassotherapy)가 국민들의 건강을 지켜오고 있다. 탈라소테라피(Thalassotherapy)란 바다를 뜻하는 그리스어 'Thalassa'와 치료를 뜻하는 'Therapy'가 합쳐진 말로 해양치유자원을 이용해 신체적 정신적 건강을 증진시키는 활동을 뜻한다. 최근 우리나라에도 건강한 삶을 추구하는 인식의 변화 속에 다양한 해양치유자원을 이용하는 해양치유의 수요가 증가하고 있다. 본 논문에서는 해양치유산업의 활성화를 위한 해양치유자원의 현황 및 활용방안에 대해 연구하였다. 우리나라 해양치유자원의 분포를 확인하기 위해 동해, 서해, 남해, 제주도 등 4개의 권역으로 구분하여 전국을 대상으로 총괄도를 제작하였으며 국내외 해양치유자원을 이용해 작성된 문헌을 통해 해양치유자원의 이용현황에 대해 조사하였다. 또한 해양치유산업 선진국인 독일, 프랑스, 일본을 모델로 우리나라에 맞는 해양치유자원 적합기준을 연구하였다. 그 결과, 각 지역별 해양치유자원은 경기도:(머드, 염생식물, 염지하수, 해조류), 충청남도:(머드, 해조류, 천일염, 해조류), 전라북도:(머드, 염생식물, 해조류 해풍), 전라남도:(해조류, 해수, 천일염, 머드 해풍), 제주도:(용암해수, 염지하수, 태양광, 해수욕장), 강원도:(심층수, 태양광, 해조류, 해송림), 경상남도:(해조류, 해수욕장, 태양광, 해풍), 경상북도:(해조류, 태양광, 심층수, 염지하수, 해송림), 울산:(해조류, 태양광), 부산 :(해조류, 해수욕장, 태양광)이 있었으며 해양치유 자원을 이용해 작성된 국내외 논문은 265편(해수:101편, 머드:27편, 소금:12편, 해양환경:39편, 해양생물:18편, 해조류:68편)이 있었다. 해양치유자원 적합기준은 각 나라별 해양치유자원의 이용기준을 활용하여 자원별로 제시하였다.

• Proceedings of the Korea Water Resources Association Conference
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• 2019.05a
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• pp.17-17
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• 2019

IPCC (Intergovernmental Panel on Climate Change) 기후변화 전망보고서에 따르면 RCP 4.5 시나리오 기준, 21세기 전 지구 평균기온은 $2.5^{\circ}C$ 상승(한반도 $+3.0^{\circ}C$)하며, 전 지구 평균강수량은 4.1% 증가(한반도 +16.0%)할 것이라 전망하고 있다(기상청, 2012). 최근 기후변화와 기상이변에 따른 도심지 폭우특성이 변화하고 있음을 많은 연구결과에서 말해주고 있으며, 그 발생 빈도와 강도가 점차 증가하고 있는 추세이다. 특히, 서울시의 경우 인구와 재산이 밀집해 있어 폭우 발생에 의한 시민의 인명과 재산 피해 우려가 크다. 따라서 본 연구에서는 서울시를 대상으로 근미래(~2050년) 기후변화 하에서의 재현기간에 따른 확률강우량 변화 특성을 분석하여 비교 평가한 후 설계 강우량 산정에 활용하고자 하였다. 관측자료 기반 강수량의 변동 특성 분석과 Non-stationary GEV방법을 이용한 비정상성 빈도해석을 수행하였으며, 근미래 폭우특성 변화분석을 위하여 CMIP5 (Coupled Model Intercomparison Project 5)에 참여한 GCMs(General Circulation Models)을 활용한 강우빈도해석을 수행하였다. Mann-Kendall Test와 Quantile Regression을 통한 서울지점 여름철 강수량(June to September)과 기준강수량 초과 강수(30, 50, 80, 100mm/hr), 연간 10th 최대 강수량(Annual Top 10th Precipitation) 등을 분석한 결과 최근 증가 경향이 뚜렷하게 나타났으며, 비정상성 빈도해석에 의한 확률강우량 분석의 가능성과 신뢰성을 확인하였다. 또한 19-GCMs을 통하여 모의된 일(Daily) 단위 강수량자료를 비모수통계적 상세화(Nonparametric Temporal Downscaling) 기법을 적용하여 시간(Hourly) 강우로 다운스케일링하였으며, 서울시 미래 확률강우량에 대한 IDF 곡선(Intensity-Duration-Frequency Curve)을 작성하여 비교?분석한 결과 지속시간 1시간 강우에 대하여 재현기간 30년, 100년 조건에서 확률강우량이 약 4%~11% 수준에서 증가하고 있음을 확인하였다. 본 연구의 결과는 도심지 수공구조물의 설계빈도 영향을 진단하고, 근미래 발생가능한 확률강우량 변화에 따른 시간당 목표 강우량설정의 방법론을 제시하였다는데 의의가 있으며, 서울시의 방재성능목표 설정과 침수취약지역 해소를 위한 기후변화에 따른 수공구조물 설계 시 활용이 가능할 것으로 기대된다.

• The Journal of the Acoustical Society of Korea
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• v.26 no.2
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• pp.55-60
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• 2007

The shadow, reflection, interference, and diffraction are proper phenomena concerning sound that is a kind of wave. By the late nineteenth century, similar optical phenomena had been detected already but these phenomena concerning sound had not been convincingly detected. It was Rayleigh who succeeded in detecting those phenomena without any reasonable doubt by the virtue of his original instruments and smart experimental settings. Rayleigh could detect the sound shadow by using the corner of a building and erase the shadow by some reflectors. And he constructed some apparatus similar to Young's interference apparatus famous in optics to detect the sonic interference. Furthermore, he first succeeded in illustrating the acoustical effectiveness of Poisson's disk by which optical diffraction had already been well known, and tested the effect of diffraction by spherical obstacles to ascertain that the result coincided with his theory.

• Journal of Korean Classical Literature and Education
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• no.37
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• pp.253-281
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• 2018

The purpose of this paper is to analyze the meaning of of "Nikolai Garin - Mikhailovsky's the "Joseon tale". talks about the origins of the Joseon Dynasty and the Qing Dynasty. In this paper, we revealed the features of the form of "Otter Legend". And analyzed the confrontation between Nurhachi's family and Yi Seong-gye's family shown in the story. The result is as follows. is complex tale. The start of is 'the typr of Yaraeja'. Next is the story of Myoung-Dang. Myoung-Dang is deep in the water. also has anecdotes of Jeong, Chung-shin. rearranged at least three stories or more. transformed each type of stories, communing the different patterns of stories with different logic. The basic logic of the transformation was to maximize the confrontation between the NuruhachI and Yi Seong-gye clans, the origins of Manchuria and the Chosun Dynasty. As a result, the sacredness of Nurhachi's Family, the origin of the Qing Dynasty, was expanded. On the other hand, Yi Seong-gye s Family was less extraordinary than Nurhachi's Family. Also, the ability of the person is also inferior. This is not the yearning for the Qing Dynasty. This is because the Qing Dynasty and the Joseon have the same pedigree. shows that the Qing Dynasty's experiences should be shared since the Qing Dynasty was born of another clan of Joseon. This is a new perception of Qing Dynasty. This is similar to the interpretation that dragged the Qing Dynasty's history into the Joseon's ethnographic historical point of view.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.155-180
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• 2019

Samsaebulhoedo(三世佛會圖) at Yongjusa Temple(龍珠寺), regarded as a monumental masterpiece consisting of different elements such as Confucian and Buddhist ideas, palace academy garden and Buddhist artist styles, unique traditional and western painting styles, is one of the representative works that symbolically illustrate the development and innovation of painting in the late Joseon dynasty. However, the absence of painting inscriptions raised persistent controversy over the past half century among researchers as to the matters of estimating its production period, identifying the original author and analyzing style characteristics. In the end, the work failed to gain recognitions commensurate with its historical significance and value. It is the particularly vital issue in that estimating the production period of the existing masterpiece is the beginning of all other discussions. However, this issue has caused the ensuing debates since all details are difficult to be interpreted to a concise form due to a number of different records on painters and mixture of traditional buddhist painting styles used by buddhist painters and innovative western styles used by ordinary painters. Contrary to other ordinary Buddhist paintings, this painting, Samsaebulhoedo, has a praying letter for the royal establishment at the center of the main altar. It should be noted that regarding this painting, its original version-His Royal Highness King, Her Majesty, His Royal Crown Prince主上殿下, 王妃殿下, 世子邸下-was erased and instead added Her Love Majesty慈宮邸下 in front of Her Majesty. This praying letter can be assumed as one of the significant and objective evidence for estimating its production period. The new argument of the late 19th century production focused on this praying letter, and proposed that King Sunjo was then the first-born son when Yongjusa Temple was built in 1790 and it was not until January 1, 1800 that he was ascended to the Crown Prince. In this light, the existing praying letter with the eulogistic title-Crown Prince世子-should be considered revised after his ascension to the throne. Styles and icons bore some resemblance to Samsaebulhoedo at Cheongryongsa Temple or Bongeunsa Temple portrayed by Buddhist painters in the late 19th century. Therefore, the remaining Samsaebulhoedo should be depicted by them in the same period as western styles were introduced in Buddhist painting in later days. Following extensive investigations, praying letters in Buddhist paintings in the late 19th century show that it was usual to record specification such as class, birth date and family name of people during the dynasty at the point of producing Buddhist paintings. It is easy to find that those who passed away decades ago cannot be revised to use eulogistic titles as seen by the praying letters in Samsaebulhoedo at Yongju Temple. As "His Royal Highness King, Her Majesty, His Royal Crown Prince" was generally used around 1790 regardless of the presence of first-born son or Crown Prince, it was rather natural to write the eulogistic title "His Royal Crown Prince" in the praying letter of Samsaebulhoedo. Contrary to ordinary royal hierarchy, Her Love Majesty was placed in front of Her Majesty. Based on this, the praying letter was assumed to be revised since King Jeongjo placed royal status of Hyegyeonggung before the Queen, which was an exceptional case during King Jeongjo's reign, due to unusual relationships among King Jeongjo, Hyegyeonggung and the Queen arising from the death of Crown Prince(思悼世子). At that time, there was a special case of originally writing a formal tripod praying letter, as can be seen from ordinary praying letter in Buddhist paintings, erasing it and adding a special eulogistic title: Her Love Majesty. This indicates that King Jeongjo identified that Hyegyeonggung was erased, and commanded to add it; nevertheless, ceremony leaders of Yongju Temple, built as a palace for holding ceremonies of Hyeonryungwon(顯隆園) are Jeongjo, the son of his father and his wife Hyegyeonggung (Her Love Majesty)(惠慶宮(慈宮)). This revision is believed to be ordered by King Jeongjo on January 17, 1791 when the King paid his first visit to the Hyeonryungwon since the establishment of Hyeonryungwon and Yongju Temple, stopped by Yongju Temple on his way to palace and saw Samsaebulhoedo for the first and last time. As shown above, this letter consisting of special contents and forms can be seen an obvious, objective testament to the original of Samsebulhoedo painted in 1790 when Yongju Temple was built.

• Cartoon and Animation Studies
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• s.34
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• pp.219-235
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• 2014

The term 'noble savage' is a literary stock character that expresses the concept of an idealized person who has not been corrupted by civilization, and therefore symbolizes humanity's innate goodness. Fictional noble savage characters that are raised by wild animals such as Rudiard Kipling's Mowgli or Edgar Rice Burroughs' Tarzan were created over 100 years ago but are still repeatedly reproduced as movies and TV series. Since films that depict noble savages tend to criticize civilization, popularity of these film could be due to the hidden anxiety of masses towards civilization and technology. Characters in commercial films about noble savages tend to be leveled, sharpened, and assimilated as Allport and Postman argued in The Psychology of Rumor. It is probably because films, as mass medium, need to be understood easily to the public. Characters in animations with cartoon style images are more likely to be leveled, sharpened, and assimilated even further than live-actions. Films show social stereotype of the time through assimilation process. Comparing different versions of film based on the same novel about noble savage how those social stereotypes such as gender roles and idea of evil change.

• Conservation Science in Museum
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• v.20
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• pp.61-76
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• 2018

The National Museum of Korea conducted conservation treatmenton the armor in its collection for the purposes of public display and appropriate preservation. This was preceded by a literature study on the types and features of the armor in order to collect basic data for secure and accurate conservation treatment. The literature study found that during the Joseon dynasty, armor was named in reflection of precise details including the color, material, status of the wearer, and even the certain parts of a suit of armor. In general, the name of armor includes the details in the order of color, underlying textile, and scale material (e.g., iron, leather). The former part of the name presents the features of the garment and the latter part refers to the material of the scales or the status of the wearer. The study also found that main materials used in armor include textiles, leather, and metal, and armor can be classified by the materials of the scales-e.g., metal armor (鐵甲), leather armor (皮甲), paper armor (紙甲), paper-and-fabric armor (淹心甲), silk armor (緞甲). Joseon-period armor can also be classified into four types according to its structure and the method of wearing, and overcoat(袍)-style armor was the most widely used in the period following the Japanese Invasion of Joseon (1592-1598) through the late nineteenth~early twentieth century. Overcoat-style armor was commonly worn by infantry, and the four examples of armor with leather scales at the National Museum of Korea belong to this category.

• Proceedings of the Korean Institute of IIIuminating and Electrical Installation Engineers Conference
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• 2004.05a
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• pp.253-260
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• 2004

실내의 조명은 자연채광방식과 인공조명으로 나누어지는데 자연형 채광방식에서도 측창채광과 천창채광, 정 측창채광 그리고 반사 채광방식이 있다. 측창채광은 벽면에 대하여 일반적으로 연직인 창에 의한 채광을 말한다. 측창채광의 방향에 따라 실내조도는 영향을 많이 받는다. 따라서 본 연구는 측창채광의 동서남북의 방향에 따라 봄, 여름, 가을, 겨울의 계절에 따라 아침, 점심, 저녁시간대에 따라 변화되는 실내조도를 알아보았다. 실험방법은, 조명시뮬레이션 프로그램인 Lightscape V3.2를 사용하여 교실공간의 치수와 작업면의 높이를 가로 5.8[m], 세로 10.8[m], 높이 3[m], 작업면의 높이 0.75[m]로 정하였고, 각 시설물의 반사율[p]은 벽 80%, 창문 12%, 출입문 13%, 바닥 20%, 천장 85%로 지정하였으며 창문의 투과율은 88%로 설정하였다. 본 연구에서 측정하고자 하는 변수 값은 계절은 여름을 6월20일, 겨울은 1월20일 기준으로 하고 시간대는 09시, 13시, 18시로 하였으며 창측방위는 동, 서, 남, 북으로 정하였으며 계절과 시간은 가장 차이가 많이 나는 값을 선택하였다. 결론으로 창이 남쪽일 때 평균조도가 9,100[lx]로 가장 높았고, 시간별로는 점심에 19,590[lx]로 조도가 가장 높은 것을 알 수 있었고 조도 균제도는 창이 동쪽일 때 겨울에 가장 높았다. 창이 북쪽일 때는 여름이 겨울보다 평균조도가 약간 높았고, 시간별로는 아침에 조도가 약간 높은 것을 알 수 있었고 전체적으로 북쪽 창에서 실내조도가 현저하게 떨어지는 것을 알 수 있었다. 이와 같은 결과로 측창의 브라인드를 현재 사용하고 있는 수직 브라인드 대신에 수평 브라인드를 사용하여 주광의 범위를 넓게 조절하여 사용하게 하고, 점등제어를 현재 측창면과 수직으로 되어있는 배열을 수평으로 한다면 자연채광의 효과를 배가 할 수 있으리라고 사료된다. 미백 전, 미백후, 재광화 후 미세경도 변화 양상이 미백을 하지 않은 대조군과 차이를 보이지 않았으며 (p > 0.05) 미백 전과 미백 후의 미세경도의 차이 미백후와 재광화 후의 미세경도의 차이도 유의할 만한 차이가 없었다 (p > 0.05). 따라서 시중에 판매되고 있는 whitening strip과 미백 젤은 14일 동안의 통상적인 미백과정 동안 법랑질의 미세경도에 영향을 미치지 않는 것으로 사료된다.able pitch와 helical angle보다는 근본적으로 radial land가 screw-in effect의 예방에 더 큰 역할을 하는 것으로 추정될 수 있다 따라서 NiTi file의 사용 경험이 없는 초심자의 경우 근단부 폭경의 유지능력이 좋은 ProFile$^{(R)}$의 사용이 추천된다.)되었다.였으나 강남콩군 외에는 단백질의 소화 흡수율 및 효율은 크게 향상되지 않아 단백질의 소화 흡수율을 떨어뜨리는 요인에 관한 연구가 집중적 으로 이루어져야 하리라고 생각된다.면 바로 위 지점의 풍속을 측정하였다. 각 Seeding 물질에 대해 팬을 켜지 않았을 때, 즉 바람의 영향이 없을 때 측정한 표면유속을 바람의 세기가 변한 경우의 기준 표면유속으로 이용하였다. 본 연구의 결과 비중이 0.01 내외인 Ecofoam과 white polystyrene에 비해 비중이 0.92인 black polypropylene은 대부분이 물속에 잠겨 있어 흐름과 거의 일치하여 움직임을 알 수 있었다. 또한 흐름의 평균유속이 0.165 m/s의 저유속에서 바람이 tracers에 미치는 영향이 평균유속 0.558m/s인 경우보다 커서, 바람의 세기의 증가에 따라 표면유속 측정값이 급속히 감소되었다. 흐름의 평균유속이 큰 경우에는 바람이 tracer에 마치는 영향이 현격히 줄어듬을 보이고 있다. 결론적으로 유속이 증가함에 따라 바람의 영향은 감소하나, 바

• Journal of Conservation Science
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• v.34 no.6
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• pp.481-492
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• 2018

We conducted TL/OSL dating for the earthenware kilns in the Bongsan-ri archaeological site, Osong, which was occupied from the late nineteenth to the late twentieth century. With the SAR-TL/OSL method, paleodose was determined from the equivalent dose during the burial period($ED_{burial}$), the background dose($ED_{BG}$), the fading correction factor(f), and the overestimation correction factor(C). The annual dose rates and their provenance were evaluated from the measurement of natural radionuclides $^{238}U$, $^{232}Th$, and $^{40}K$. Because the comprehensive absolute age was provided by combining the resulting TL/OSL and radiocarbon data, we concluded that, for the absolute chronology of a modern archaeological site, TL/OSL dating and radiocarbon dating must be carried out together and summed. The construction and occupation of earthenware kilns in the Bongsan-ri site had changed from stage I (No.5, 6 kilns), to stage II (No.1, 2, 3 kilns), to stage III (No.4) in chronological order. When Bayesian statistics were applied, we found that the absolute ages of occupation for stages I, II, and III correspond to AD $1910{\pm}23$, AD $1970{\pm}10$, and AD $1987{\pm}4$. These results were in good agreement with the archaeological context or chronology.