• Journal of Popular Narrative
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• 제27권3호
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• pp.13-51
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• 2021

The aim of this essay is to illustrate Sunjung Manhwa in the 1970s which has been alienated in comics studies. This essay analyses the articles and the serial comics in Schoolgirl, the magazine in the 1970s, and examines the ideal representations of the girls at that time. Sunjung Manhwa is really different between the 1960s and 1970s. It cannot be explained on this gap just by analyzing Sunjung Manhwa in book form alone. Even though the censorship on comics was the element that has hampered the development of comics as a whole, the slumps of Sunjung Manhwa in the 1970s were very excessive compared to other comics genres. This article can gain the answers to the reason of the changes of Sunjung Manhwa by studying the magazines which was the main mass media aimed at girls with Sunjung Manhwa. While the articles in magazines show the editing direction and its characteristics, they reflect the values and ideologies at that time. The same is true for the comics in the magazines. Especially, the comics in the magazines was relatively free from the censorship. This essay examined how the articles and the comics in the girls' magazine in the 1970s represented the images of girls at the time by focusing on feature articles and comics in the magazine, Schoolgirl. This article explored Um, Hee-Ja's Blue Zone and Bang, Young-Jin's Mini March among a full-length serial comics in the magazine, Schoolgirl. Both Blue Zone and Mini March reveal the images of an ideal girl that has been emphasized by the articles in Schoolgirl. Blue Zone draws the appearances of an earnest and obedient daughter, and Mini March represents the figures of a cheerful and bright girl. Through this study, it can be recognized that the magazines in the 1970s highly appraised girls who are obedient to a given society and serve to a harmonious family as ideal ones, and it might be guessed that the ideal images of girls that was characterized ceaselessly by the magazines were the standard of the censorship on comics and its creativity and had also a huge impact on the contents and the expressions of a great deal of works. The 1970s was the times when its importance has been lost in the history of the comics studies by the censorship on the comics and the monopoly of "Hapdong(합동) publisher." The limits of expression in terms of censorship were awfully distinct, so its result was few of good works in quality, and there are still many blanks in the study on 1970s' comics. This study has a meaning which fills up a blank in the comics studies.

• Journal of Popular Narrative
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• 제26권4호
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• pp.43-76
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• 2020

After comparing three video dramas based on Yoon Sim-duk and Kim Woo-jin, this paper intensively explores the movie Praise of Death(1991), which has the most meaningful traits in embodying the characters, focusing on the relationship with the previous works of the director or an actress. The movie Yoon Sim-duk(1969) focuses on meiodramatic narrative around the issue like love triangle or a relationship between out-of-wedlock woman and the wife of one man. The TV drama Praise of Death(2018) is pursuing ideal youth genre between attractive two lovers adorning even the suffering of the Japanese occupation with customary visual image. In comparison, the movie Praise of Death(1991) focuses on visual beauty, while overlaps the agony of two characters as pioneering artists with frustrated love narrative. In the process, this film reveals two-sided characteristics, especially the heroine, compared to the other two. She shows a rift between the passivity for the salvation of man and the activity of choosing even the fall of her own life. In order to examine this trait, we have to explore the other works which affect the movie Praise of Death. This came from the tendency director Kim Ho-sun and actress Jang Mi-hee had built in 1970s films. It also relates in the movies Jang Mi-hee had worked with director bae Chang-ho in the 1980s. The tendency to show a pursuit of classical cultures in the field of popular movies, and to overlap the problems of desire, including sexuality, with mental and intellectual issues, continues from the previous films to the movie Praise of Death for shaping a main female character. This study results in examining the movie Praise of Death in two contexts. One is the context of three video dramas having same materials, Yoon Sim-duk and Kim Woo-jin. And other is the context of the works that director Kim Ho-sun and actress Jang Mi-hee have continued together, or the works that Jang Mi-hee have continued with director Bae Chang-ho. Until now, Yoon Sim-duk and Kim Woo-jin has been used as a material for cultural contents in the various genres over and over again. Under this circumstance, by looking at this movie, one of representative case dealing with Yoon and Kim, in the complex context, it can reaffirm the effect and difficulty in fictionalisation of them as a subject matter.

• Korean Journal of Heritage: History & Science
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• 제55권2호
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• pp.146-165
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• 2022

The purpose of this study is to identify differences in the formative characteristics and system of Jobok by comparing the three relics Ui, Sang, and Daedae, which comprised Jeon-Sik's Jobok, with the data in the literature and five excavated Jobok relics, Sin Kyung-yu, Kwon-Woo, Hwasan-Gun, Milchang-Gun, and Lee Ik-jeong, from the 17th and 18th centuries. Jeon-Sik'sJobok was designated as a Gyeongbuk tangible cultural heritage, Sangju JeonSik Jobok and Crafts, in 2021. The three components of Jeon-Sik's Jobok are valuable as historical data since they are the oldest relics confirming colors. Regrettably, the edging fabric of the Ui made of red twill was mostly lost, with only traces remaining. Based on records, it was presumed that the edging fabric was black. It was confirmed that white decorative lines were yet to be used. In Jeon Sik's Sang, only the three front widths and one rear width remain, but the shape of the four rear widths can be inferred, and the creases were held only at the waist. Eighteenth-century Sang was connected at intervals at the end of the waist. Seventeenth-century Sang was connected with a slight overlapping of the rear Sang below the front Sang; therefore, it is assumed that Jeon Sik's Sang was also connected by overlapping the rear by more or less than 5cm below the front. After Hwasan-gun, the Sang was first made using black lines, then white lines were inserted, and, finally, it was pleated from the waist to the hem. The Daedae made the Yo and the Sin by folding the corners to form a 冂 shape with a single long band. The white Ju(紬) and the green yumunsa were used for the Daedae and the edges. This matches the color of the Daedae seen in the Jobok portraits of Milchang-gun, Lee Ik-jeong, and Jeong Hwi-ryang from the 18th century. In the 17th century, the Daedae made the Yo and the Sin by folding a long band like the Daedae of Jeon-Sik. After the 18th century, the Yo and the Sin were made separately and connected. To tie the Daedae to the waist, thin straps were attached at both ends. The relics of Jeon-Sik can be evaluated as reflecting the 17th-century Jobok system in terms of color and shape. Furthermore, it can be said that they are important historical data complementing the insufficient or inaccurate records of the Gukjoolyeui-seolye and Gyeongguk-daejeon.

• The Korean Journal of Archival Studies
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• 제73호
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• pp.161-188
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• 2022

This article explores the current status of arrangement of the archives relating to the Korean Provisional Assembly held by the National Assembly Library and suggests the direction of rearrangement focusing on the principles of arrangement. The Korean Provisional Assembly had records management regulations, and records were produced and stored according to them. However, the archives lost their original order at some point. The National Assembly Library collected and managed them in the 1960s. The National Assembly Library did not fully consider the records management system at the time of record production and various situations that may occur during the storage process while organizing the collected archives. At that time, the National Assembly Library did not follow the records management regulations of the Korean Provisional Assembly. In addition, the hierarchical structure of archives was not applied during the arrangement, and the National Assembly Library arranged without considering the Principal of Provenance and the Principle of original order. As a result, it became difficult to understand the structure and context of the archives. In order to solve these problems and come up with a plan for rearranging the archives, first of all, it is necessary to examine the characteristics of the records related to the Korean Provisional Assembly in accordance with the principles of record arrangement. First, according to the Principal of Provenance, it is necessary to identify the organization, function, and records and classify the records item, records file, creators, dates of creation, types of records etc. Second, by applying the Principle of original order, it is necessary to understand what the order of records was at the time when records were created and preserved. Third, it is necessary to examine whether the records are completely created and valid. It is impossible to completely arrange the archives related to the Korean Provisional Assembly as it was in the past. However, by examining the current state of arrangement and the direction of rearrangement, it will be possible to newly understand the contents, structure, and context of the archives and create a basis for effective reference service.

• Journal of the Korean Institute of Landscape Architecture
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• 제50권4호
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• pp.37-52
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• 2022

The purpose of this study is to analyze the demand for cultural ecosystem services in urban forests based on user perception and experience value by using Naver blog posts and LDA topic modeling. Bukhansan National Park was used to analyze and review the feasibility of spatial assessments. Based on the results of topic modeling from blog posts, a review process was conducted considering the relevance of Bukhansan National Park's cultural services and its suitability as a spatial assessment case, and finally, an index for the spatial assessment of urban forest's cultural service was derived. Specifically, 21 topics derived through topic analysis were interpreted, and 13 topics related to cultural ecosystem services were derived based on the MA(Millennium Ecosystem Assessment)'s classification system for ecosystem services. 72.7% of all documents reviewed had data deemed useful for this study. The contents of the topic fell into one of the seven types of cultural services related to "mountainous recreation activities" (23.7%), "indirect use value linked to tourism and convenience facilities" (12.4%), "inspirational activities" (11.2%), "seasonal recreation activities" (6.2%), "natural appreciation and static recreation activities" (3.7%). Next, for the 13 cultural service topics derived from data gathered about Bukhansan National Park, the possibility of spatial assessment of the characteristics of cultural ecosystem services provided by urban forests was reviewed, and a total of 8 cultural service indicators were derived. The MA's cultural service classification system for ecosystem services, which was widely used in previous studies, has limitations in that it does not reflect the actual user demand of urban forests, but it is meaningful in that it categorizes cultural service indicators suitable for domestic circumstances. In addition, the study is significant as it presented a methodology to interpret and derive the demand for cultural services using a large amount of user awareness and experience data.

• Journal of Korean Society of Forest Science
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• 제112권3호
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• pp.352-362
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• 2023

Harvest time is one of the most important determining factors of seed quality, especially for species that produce seeds over irregular and long-term periods, such as Larix kaempferi. A cone collection plan must be established to increase seed production efficiency and stable mass production. We investigated seed qualities such as seed efficiency, germination rate, and T₅₀ (germination speed), with 7 or 8 cone collection times at a clonal seed orchard of L. kaempferi in Chungju between 2021 and 2022. A multivariate analysis was then performed for the collected data. In early August, decreases in the moisture contents and browning of cones were observed. These were followed by a decrease in germination rate, with a peak at the end of September, but no clear trend was observed. The later the cones were harvested, the better the seed vigor (T₅₀). However, the seed yield and efficiency decreased owing to increases in seed scattering and the number of insect-damaged seeds. As a result, the optimal time of seed harvest for the seed orchard was in early August. To produce uniform seedlings, insect damage must be reduced through timely control and harvest cones in early September. This shows that the degree of browning and moisture content of cones can be used as indicators of the timing of cone collection in L. kaempferi seed orchards.

• (The) Research of the performance art and culture
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• 제42호
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• pp.107-146
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• 2021

This article examined the current status of performance activities in the theaters in Ulsan during the Japanese colonial period, and examined the characteristics and social roles of performance culture at that time.,The cultural space during the Japanese colonial period can be divided into theater space and semi-theater space.,The theater spaces in Ulsan include Daejeonggwan, Sangbanggwan, and Ulsan Theater. The semi-theater spaces include Ulsan Youth Center, Ulsan Youth Alliance Hall, Barrack Youth Hall, Eonyang Youth Alliance Hall, Eonyang Christian Hall, Eonyang Christian Hall, Eonyang Inn, Eonyang Public Inn, Eonyang Public Normal School, Seosaeng School, Ulsan Public Aid Auditorium, Night school.,These spaces not only held events or performances for a specific purpose, but also played a role as public spaces producing local discourse. The theater was a complex cultural space where performances are performed along with movie performances, and artists and audiences meet.,Furthermore, the theater provided a special experience of producing and consuming various issues such as colonial modernization, modern city formation, and the emergence of new popular culture beyond the meaning of stage space.,The theaters in Ulsan also functioned as a space to represent the foreign culture acceptance, leisure activities, the performance and viewing of cultural contents, and the artistic skills of local artists in accordance with the purpose of establishing local theaters.,It was a base space for local discourse production and enjoyment activities by holding political rallies, meetings, lecture activities, and various conferences.,Political rallies were also concerts, enlightenment activities were also accompanied by film screenings, and music performances were associated with dance performances and charity gatherings.,In particular, Ulsan Theater, which is the first theater in Ulsan, and the role of the public hall, held a lecture, debate, and oratory for public enlightenment along with performances such as musical drama, children's song contest, fairy tale contest, small-sized play performance,, It was widely used as a large-scale rallying place, and served as a public hall, such as a place to visit outside theaters. Thus, the theater and semi-theater space in Ulsan during the Japanese colonial period improved the cultural level of the region, fulfilling the aesthetic needs of the local people and faithfully fulfilling the social role as a public sphere leading the public opinion and agenda.,And it was also positioned as an alternative public area of ​​modern society and also played a role as a public institution.

• (The) Research of the performance art and culture
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• 제43호
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• pp.357-380
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• 2021

Akjang yoram 『樂章要覽』 is a book that summarizes only the important contents from the Akjang 樂章. Akjang 樂章 is arranged in the first half, and score 樂譜 is arranged in the second half. It seems that Akjang yoram 『樂章要覽』 passed through a total of four stages through the time when the handwriting and the lyrics were written. The presence of various handwriting and traces of modifications means that it has been passed through by several people, so it is not unrelated to the fact that several traces remain on the back of the cover of Akjang yoram 『樂章要覽』. The first part of the Akjang 樂章 is a method of presenting the name and lyrics of the accompanying music based on the ritual procedure, and in particular, the lyrics are written in Chinese characters and Hangeul sounds to improve readability. The score in the second half complies with the ritual procedures, but boldly omits overlapping melodies, and is composed based on the music, and various symbols are used to capture the expression of court music. This structure is a reflection of the direction we practiced to harmonize with the music after prior ritual procedures and diction. This was a device to increase the efficiency of music education and music practice for the court musician. The characteristics of the musical pieces are that they consist of essential musical pieces that must be mastered as musicians. In addition, the name Kim Hyung-sik 金亨植 is noted on the back cover of Akjang yoram 『樂章要覽』, and he was a court musician who was active in the age of King Sunjo 純祖. In other words, the musical pieces included in Akjang yoram 『樂章要覽』 are the core repertoire played by court musicians like Kim Hyung-sik 金亨植. Akjang yoram 『樂章要覽』 is a 'music practice booklet' containing the daily life of court musicians. Akjang yoram 『樂章要覽』 is a booklet designed for the purpose of teaching the court musicians to sing while correctly pronouncing the lyrics in major ceremonies. It is even more noteworthy in that Kim Hyung-sik 金亨植 was an owner. In addition to the fact that Kim Hyung-sik's name remains, and in the practicality of being used by various court musicians reflecting and modifying the changes of the times, it is meaningful in that it contains the path of court musicians who spent a lot of time and time to transmit court music.

• Journal of the Daesoon Academy of Sciences
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• 제42집
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• pp.109-141
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• 2022

As many perhaps already know, in East Asian thought there are two aspects of all things such as light and darkness coexist and are called Yin-Yang (陰陽). The initial concept of Yin-Yang was just a simple expression meant to depict natural phenomena, but it gradually became the central concept in explanations of creation and the changes that undergo all things in the universe. The study of the ordering principle of nature that was known as Myeongli (命理) also examined the interrelation between the sky and the earth and divided the two into Ten Celestial Stems (天干 cheongan) and the Twelve Earth Branches (地支 jiji) based on Yin-Yang theory. This thesis analyzed contents of the relationship between Ten Celestial Stems and the Twelve Earth Branches in terms of the patterns of Mutual Aid (相助 sangjo) and Mutual Contention (相剋 sanggeuk) through a literature review and exploration of their common features and differences. Different categorized phenomena under the pattern of Mutual Aid include Tonggeun (通根 root downward) and Tugan (透干 appearance of the upward). Tonggeun means that signs in the Celestial Stems took root in their counterparts of the Earthly Branches. In the Celestial Stems, there is also Tonggeuncheo (通根處 a place to root downward) which in relation to the Earthly Branches show that the same five phases become Samhap (三合 combined three ways to gain power) and Banghap (方合 gathering in the same season). The methods of seeing Tonggeunryeok (通根力 power of a downward root) are as follows: First, it is seen by the places where Tonggeun takes hold. Ilgan (日干 the Celestial Stem of a birthday) is ordered as month (月 wol) > day (日 il) > hour (時 shi) > year (年 nyeon), and other Celestial Stems appear ordered as month > sitting > close place. Second, it can be seen by the characteristics of Earthly Branches that Tonggeun has taken hold. The Earthly Branches are ordered as Rokwangji (祿旺支 vigorous land) and Jangsaengji (長生支 newborn land) > Yeogi (餘氣 remaining energy) > Myogo (墓庫 storage and burial grounds). Tugan is the concept that the main agent was changed to Tonggeun, which means that the spirit of the Earthly Branches is manifested in the Celestial Stems. And the five phases hidden in the Earthly Branches will be able to play their roles as they are revealed. There are also the phenomena of Gaedu (蓋頭 the heavenly destroying the earthly) and Jeolgak (截脚 the earthly destroying the heavenly) which are concepts that convey that the Heavenly Stems and Earthly Branches can mutually destroy one another. There are different opinions on Gaedu because some adopt viewpoints of just focusing on the Celestial Stems and considering it only in terms the Celestial Stems destroying the Earthly Branches. But, the vast majority of scholars think that the Celestial Stems weakens the role of the roots by destroying the Earthly Branches. Jeolgak, the reverse concept of Gaedu, weakens the spirit of the Celestial Stems as the Earthly Branches destroy them, and this is associated with the strong possibility that one is fated to experience disharmony.

• Journal of the Society of Disaster Information
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• 제19권2호
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• pp.395-410
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• 2023

Purpose: The purpose of this study was to analyze the current state of drone terrorism response at such critical national facilities and derive improvements, especially to identify problems in laws and systems to effectively utilize the anti-drone system and present directions for improvement. Method: A qualitative research method was used for this study by analyzing a variety of issues not discussed in existing research papers and policy documents through in-depth interviews with subject matter experts. In-depth interviews were conducted based on 12 semi-structured interviews by selecting 16 experts in the field of anti-drone and terrorism in Korea. The interview contents were recorded with the prior consent of the study participants, transcribed back to the Korean file, and problems and improvement measures were derived through coding. For this, the threats and types were analyzed based on the cases of drone terrorism occurring abroad and measures to establish anti-drone system were researched from the perspective of laws and systems by evaluating the possibility of drone terrorism in the Republic of Korea. Result: As a result of the study, improvements to some of the problems that need to be preceded in order to effectively respond to drone terrorism at critical national facilities in the Republic of Korea, have been identified. First, terminologies related to critical national facilities and drone terrorism should be clearly defined and reflected in the Integrated Defense Act and the Terrorism Prevention Act. Second, the current concept of protection of critical national facilities should evolve from the current ground-oriented protection to a three-dimensional protection concept that considers air threats and the Integrated Defense Act should reflect a plan to effectively install the anti-drone system that can materialize the concept. Third, a special law against flying over critical national facilities should be enacted. To this end, legislation should be enacted to expand designated facilities subject to flight restrictions while minimizing the range of no fly zone, but the law should be revised so that the two wings of "drone industry development" and "protection of critical national facilities" can develop in a balanced manner. Fourth, illegal flight response system and related systems should be improved and reestablished. For example, it is necessary to prepare a unified manual for general matters, but thorough preparation should be made by customizing it according to the characteristics of each facility, expanding professional manpower, and enhancing response training. Conclusion: The focus of this study is to present directions for policy and technology development to establish an anti-drone system that can effectively respond to drone terrorism and illegal drones at critical national facilities going forward.