• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.6
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• pp.66-80
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• 2009

This paper attempts to investigate how the cultural phenomena associated with 'Wuyi-Doga(武夷棹歌)' and 'Wuyi-Gugok (武夷九曲)' was introduced to Joseon. The icon and code of 'Gugok' cultural text which was observed in the process of transmitting the culture through repetition and imitation were examined. With regard to research methodology, an 'analysis and discussion framework' was designed based on the literature review, field survey and the seven textuality criteria proposed by Dressier. Then the textuality of 'Wuyi-Gugok' was analyzed in terms of the dependent relation of text, the relationship between the creator and user, repetition, imitation and the spread process. Since ZhouHee(朱熙)'s 'Wuyi-Doga' and 'Wuyi-Gugok' were introduced to Joseon through literature and paintings, they became a part of the cultural Phenomena with unprecedented popularity. As a result, a great number of imitations can be found. In addition, governors would even take care of political affairs in a scenic mountain valley as described in this literature. Regardless of the writer's intentiot 'Gugok' settled in Joseon as new culture in harmony with Taoism and Sung COnfucianism. In other words, Joseon's Gugok-Wonlim(九曲園林) accepted the nature-appreciation aesthetic consciousness in 'Wuyi-Doga' and 'Wuyi-Gugok' on the basis of Taoism and Sung Confucianism. In terms of the text-based dependent relation only, however, the geographical coherence was somewhat loosened while the Gugok Culture that was dependent on Taoism or elegance in life dominated the internal structure of the textuality. Meantime, the internal factors that dominated the textuality of 'Wdyi-Gugok' were interpreted as 1) 'Aesthetics of Bending, Water Whirls', 2) 'Territoriality Expression Carve letters,' 3) 'Cultural Landscape seeing through the Speculation of Meaning,' 4) 'The Pursuit of Oddness and Presentationism' and 5) 'Transcendental Landscape of Taoism and Topos.'

• Science of Emotion and Sensibility
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• v.19 no.4
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• pp.21-32
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• 2016

Studies have observed various phenomena regarding the effect of the interaction between type, price, and brand image of a product on consumers' purchase intent and product quality perception. Yet, few have studied the effect of the interaction between product type and manufacturing method on these factors. However, the advent of three-dimensional (3D) printers added a new manufacturing method, 3D printing, to the traditional methods of handicraft and automated machine-based production, and research is necessary since this new framework might affect consumers' purchase intent and product quality perception. Therefore, this study aimed to verify the effects of the interaction between product type and manufacturing method on purchase intent and product quality perception. To achieve this, in our experiment 1, we selected product types with different characteristics (drone vs. violin vs. cup), and measured whether consumers preferred different manufacturing methods for each product type. The results showed that consumers preferred the 3D printing method for technologically advanced products such as drones, the handmade method for violins, and the automated machine-based manufacturing method, which allows mass production, for cups. Experiment 2 attempted to verify the effects of the differences in manufacturing method preferences for each product type on consumers' purchase intent and product quality perception. Our findings are as follows: for drones, the purchase intent was highest when 3D printing was used; for violins, the purchase intent was highest when the violins were handmade; for cups, the purchase intent was highest when machine-based manufacturing was used. Moreover, whereas the product quality perception for drones did not differ across different manufacturing methods, consumers perceived that handmade violins had the highest quality and that cups manufactured with 3D printing had the lowest quality (the purchase intent for cups was also lowest when 3D printing was used). This study is anticipated to provide a wide range of implications in various areas, including consumer psychology, marketing, and advertising.

• Journal of The Korean Association For Science Education
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• v.36 no.4
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• pp.539-550
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• 2016

The purpose of the study is to conceptualize SSI-PCK by identifying major components and sub-components to promote science teachers' confidence and knowledge on teaching SSIs. To achieve this, I conducted extensive literature reviews on teachers' perceptions on SSI, case studies of teachers addressing SSIs, SSI instructional strategies, etc. as well as PCK. Results indicate that SSI-PCK include six major components: 1) Orientation for Teaching SSI (OTS), 2) Knowledge of Instructional Strategies for Teaching SSI (KIS), 3) Knowledge of Curriculum (KC), 4) Knowledge of Students' SSI Learning (KSL), 5) Knowledge of Assessment in SSI Learning (KAS), and 6) Knowledge of Learning Contexts (KLC). OTS refers to teachers' instructional goals and intentions for teaching SSIs. Teachers often present a) activity-driven, b) knowledge and higher order thinking skills, c) application of science in everyday life, d) nature of science and technology, e) citizenship and f) activism orientations for teaching SSIs. KIS indicates teachers' instructional knowledge required for effectively designing and implementing SSI lessons. It includes a) SSI lesson design, b) utilizing progressive instructional strategies, and c) constructing collaborative classroom cultures. KC refers to teachers' knowledge on a) connection to science curriculum (horizontal/vertical) and b) connection to other subject matters. KSL refers to teachers' knowledge on a) learner experiences in SSI learning, b) difficulties in SSI learning, and c) SSI reasoning patterns. KAS indicates teachers' knowledge on a) dimensions of SSI learning to assess, and b) methods of assessing SSI learning. Finally, KLC refers to teachers' knowledge on the cultures of a) classrooms, b) schools, and c) community and society where they are located when teaching SSIs.

• Journal of the Korean Institute of Landscape Architecture
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• v.44 no.6
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• pp.13-25
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• 2016

This study aims to analyze the change process in order to set the improvement strategies for the zoo in the Seoul Children's Grand Park. The zoo can be reviewed through three significant time periods with noticeable changes. As a framework to analyze the major changes that happened in the zoo, this study looks at the changes in terms of the planning aspect as well as the animal welfare and program operation aspect. The findings are as follows: first, the era of general theme park turned out to have focused on exhibiting animals to meet visitor demands by expanding the zoo area of the zoo without enlarging stockyards for the animals. Second, the environmental park era created a zoo having entertaining and educational functions by arranging animal houses with the concept of zoological taxonomy and introducing animal behavioral enrichment, animal welfare programs and visitor participatory programs. The era of the zoo as an Urban Cultural Park improved old animal houses and facilities for the welfare of the animals and increased educational programs to preserve species and provide environmental education. The current status of the zoo turns out not to meet the conditions for creating an ecological zoo, which is the overall goal for contemporary zoos. The improvement strategies based on the analysis through three different eras are three-fold. First, the zoo needs to improve the boundary conditions of the animals to showcase animal wildness through landscape immersion. Second, the zoo should provide a shared environment for animals from the same habitats by changing the classification methods from the existing polyphyletic taxon to a classification that considers ecological habitat. Third, the zoo needs to develop various ecological education programs by supplementing specialists in professional education.

• Korean Journal of Optics and Photonics
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• v.16 no.3
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• pp.182-190
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• 2005

The fiber Raman amplifier(FRA) is a distinctly advantageous technology. Due to its wider, flexible gain bandwidth, and intrinsically lower noise characteristics, FRA has become an indispensable technology of today. Various FRA modeling methods, with different levels of convergence speed and accuracy, have been proposed in order to gain valuable insights for the FRA dynamics and optimum design before real implementation. Still, all these approaches share the common platform of coupled ordinary differential equations(ODE) for the Raman equation set that must be solved along the long length of fiber propagation axis. The ODE platform has classically set the bar for achievable convergence speed, resulting exhaustive calculation efforts. In this work, we propose an alternative, highly efficient framework for FRA analysis. In treating the Raman gain as the perturbation factor in an adiabatic process, we achieved implementation of the algorithm by deriving a recursive relation for the integrals of power inside fiber with the effective length and by constructing a matrix formalism for the solution of the given FRA problem. Finally, by adiabatically turning on the Raman process in the fiber as increasing the order of iterations, the FRA solution can be obtained along the iteration axis for the whole length of fiber rather than along the fiber propagation axis, enabling faster convergence speed, at the equivalent accuracy achievable with the methods based on coupled ODEs. Performance comparison in all co-, counter-, bi-directionally pumped multi-channel FRA shows more than 102 times faster with the convergence speed of the Average power method at the same level of accuracy(relative deviation < 0.03dB).

• Journal of Korean Academy of Fundamentals of Nursing
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• v.2 no.1
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• pp.67-85
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• 1995

The purpose of this study was to determine the effects of rhythmic movement therapy for adaptation state in mastectomy patients. The quasi-experimental study was designed using nonequivalent control group pretest-posttest design within the framework of Laszarus & Folkman's stress-adaptation model. The subjects of the study were composed thirty-two mastectomy patients, of these fifteen were assigned to the experimental group and seventeen to the control group. Rhythmic movement therapy was carried out twice a week for thirty-five, minutes or forty minutes for six weeks period from August 22 to September 30 in 1994. Data was collected before and after the experimentation. Collected data was analyzed by mens of chi-square test, t-test, two-way ANOVA, Pearson's correlation coefficient with $SPSS/PC^+$. The results were summarized as follows : 1. Physical symptom score in the experimental group and control group was not significant difference. 2. Joint Movement Parameter in the experimental group and control group was significant difference. 3. Depression score in the experimental group and contrl group was significant difference. 4. Body image score in the experimental group and control group was significant difference. 5. Stress perception score in the experimental group and control group was significant difference. 6. Social adjustment score in the experimental group and control group was significant difference. 7. Each adaptational level in the experimental group and control group according to type of Health Locus of Control were partially significant difference. Depression score and social adjustment score between the experimental group and control group according to others Health Locus of control were significant difference. This data suggest that rhythmic movement therapy was more effective in the group of Others health Locus of Control. 8. Each adaptational level between the experimental group and control group according to amount of spouse support were not significant difference. 9. The significant positive correlation between physical symptom score and body image, between body image and social adjustment, were observed. The significant negative correlation between stress perception score and social adjustment, between depression and body image, between depression and social adjustment, were observed. This data suggest that the more physical symptom score increased, the more body image increased and the more body image, the more social adjustment. And then the more stress perception score decreased, the more social adjustment increasded and the more depression score, the more body image and social adjustment. Thus it is concluded that the rhythmic movement therapy was a useful nursing intervention for adaptation of mastectomy patients.

• Trans-
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• v.3
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• pp.55-86
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• 2017

This study begins with the necessity of the concept of reincarnation of film media and the inclusion of specific tendencies of contemporary films as post - cinema comes. Variable movements around recent films Challenging and experimental films show aesthetics that are difficult to approach with the analysis of classical mise en scene and montage. In this way, I review the dispositif proposed by Martin in films that are puzzling to criticize with the classical conceptual framework. This is because the concept of dispositive is a conceptual pile that extends more than a mise en scene and a montage. Dispositif films tend to be non-reproducible and non-narrative, but not all non-narrativef tendencies are dispositif films. Only the dispositif film is included in the flow. Dispositif movement has increased dramatically in the modern environment on which digital technology is based, but it is not a tendency to be found in any particular age. The movement has been detected in classical films, and the dispositif tendency has continued to exist in avant-garde films in the 1920s and some modernist films. First, for clear conceptualization of cinematic dispositif, this study examines the sources of dispositif debates that are being introduced into film theory today. In this process, the theory of Jean Louis Baudry, Michel Foucault, Agamben, Flusser, and Deleuze will help. The concept of dispositif was discussed by several scholars, including Baudry and Foucault, and today the notion of dispositif is defined across all these definitions. However, these various discussions are distinctly different from the cinematic dispositif or dispositif films that Martin advocates. Martin's proposed concept reminds us of the fundamentals of cinematic aesthetics that have distinguished between the mise-en-scene and the montage. And it will be able to reconsider those concepts and make it possible to view a thing a new light or create new films. The basic implications of dispositif are apparatus as devices, disposition and arrangement, the combination of heterogeneity. Thus, if you define a dispositif film in a word, it is a new 'constraint' consisting of rearrangement and arrangement of the heterogeneous elements that make up the conditions of the classical film. In order for something to become a new design, changes must be made in the arrangement and arrangement of the elements, forces, and forces that make up it. Naturally, the elements encompass both internal and external factors. These dispositif films have a variety of possibilities, such as reflection on the archival possibilities and the role of supervision, the reestablishment of active and creative audience, the reason for the film medium, and the ideological reflection. films can also 'network' quickly and easily with other media faster than any medium and create a new 'devised' aesthetic style. And the dispositif film that makes use of this will be a key keyword in reading the films that present the new trend of modern film. Because dispositif are so comprehensive and have a broad implication, there are certainly areas that are difficult to sophisticate. However this will have a positive effect on the future activation of dispositif studies end for end. Dispositif is difficult to elaborate the concept clearly, so it can be accessed from a wide range of dimensions and has theoretically infinite extensibility. At the beginning and end of the 21st century film, the concept of cinematic dispositif will become a decisive factor to dismantle old film aesthetics.

• Journal of the Korean Geographical Society
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• v.28 no.2
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• pp.148-162
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• 1993

There is much speculation that modern capi-talist society is undergoing fundamental and qualitative chnge towards flexible specialization. The purpose of this study is to examine this hypothesis. This paper focusses on: the idea of flexible specialization; the significance of this transition; industrial district; and the implicati-ons of this new production system for Korean industrial space. Main arguments of this study are as follows: First, as all different groups of researchers apply the idea of flexible specialization according to their own specifications, the current debate on this topic is not much fruitful. Not surpri-singly, the concept of flexible specialization has overlapped with subocontracting. This intergration of subcontracting into flexible specialization systems, however, is inappropriate because the two concepts have different historical contexts. The other cause of this controversy is its inherent weekness, conceptual ambiguity. Thus, today's flexibility becomes tomorrow's rigidity. Secondly, transition towards flexible speciali-zation has only been partially achieved even in advanced capitalist countries. The application of dualistic explanatory framework, such as rigidity versus flexibiity, mass production versus small-lot multi-product production, and de-skilling versus re-skilling, has resulted in great exaggeration of the transformation, from Fordism to post-Fordism. There is no intermediary part between two places. Considering that the workers allocated to the Fordist mass production assembly line are not as large as one might imagine, the shift from mass to flexible production has only limited implications for the transformation of capitalist economy. Thirdly, 'industrial district' contorversy has contributed to highlighting the importance of small firms and areas as production space. The agglomeration of small firms in specific areas is common in Korea, but it is quite different from the industrial district based on flexible specialization. The Korean phenomenon stems from close interactions with its major parent firm rather than interactions between flexible, specialized, autonomous and technology-intensive smll firms. Most Korean subcontractors are still low-skilled, labour-intensive, and heavily dependent on their mojor parent firms. Thus, the assertion that the Seoul Metropolitan Area adopts flexible specialization has no base. Fourthly, the main concern of flexible speciali zation is small firms. However, the corporate organization that needs product diversification and technological specialization is oligopolistic large corporations typified by multinational corporations. It is because of this that most of these organizations are adoptiong Fordist mass production methods. The problem of product diversification will be resolved naturally if economic internationalization progresses further. What is more important for business success is the quality and price competitiveness of firms rather than product diversification. Lastly, in order to dispel further misunderst-anding on this issue, it is imparative that the conceptual ambiguity is resolved most urgently. This study recommends adoption of more speci-fied and direct terminology (such as, factory automation, computer design, out-sourcing, the exploitation of part-time labor, job redesign) rather than that of ideological ones (such as, Taylorism, Fordism, neo-Taylorism, neo-Fordism, post-fordism, flexible specialization, peripheral post-Fordism). As the debates on this topic just started, we still have long way to go until consensus is reached.

• The Journal of Art Theory & Practice
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• no.5
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• pp.43-80
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• 2007

PASKYULA was formed in September, 1923 through the union of artists involved in two art groups: Kim Ki-Jin, Kim Bok-Jin, Yeon Hak-Nyeon who had previously participated in the ToWolHoi, and Park Young-Hi, Lee Sang-Hwa, An Seok-Ju, former members of the BaeckJo. After its founding, the PASKYULA artists had been searching for the social function of art to reform the harsh reality of Minjung and the nation with criticism toward society as well as art world. Their art theory for MinJung could grow relatively ease in relation to changing social and political conditions in the early 1920s. In August, 1925, PASKYULA organized the Korea Artista Proletaria Federatio with the YeomGunSa, and laid the groundwork for Proletariat art movement which was regularized in the late 1920s. From PASKYULA up to the early state of KAPF, the theory of art advocated by Kim Bok-Jin and An Seok-Ju could be summarized as "art for MinJung". At that time, widely ranging discourses on MinJung, however, was spawned in art theory, because many intellectuals-including artists and writers-begun to pay more attention to MinJung, who emerged as one of the social forces after the Samil Independent Movement. Sometimes, MinJung was construed as the target of enlightenment from a negative viewpoint. On the other hand, several intellectuals under the influence of individualism asserted that the discussion itself on MinJung exerted an evil influence on art. In contrast of these cases, the PASKYULA artists including Kim Bok-Jin, An Seok-Ju perceived that MinJung had the potential to change society, and regarded them as "a creator of genuine civilization and art". In the PASKYULA artist's writings, the concept of MinJung was often overlapped with the meaning of the Choson nation suffering under colony. Although their concept of MinJung was transformed gradually into the proletariat as they were under the strong influence of socialism, it did not change that they grasped the realities of the whole Choson Peninsula through the proletarian consciousness. In the early state of PASKYULA, the methodology for social function of art was presented in a twofold manner. First of all, Kim Bok-Jin emphasized on the necessity of education to improve MinJung's way of life through art, and it was embodied by the organization of ToWol Art Workshop and public lecture. Also, he championed "the popularization of art", which was one of methods to distribute art to MinJung. According to the PASKYULA artists, art should be not art for art' sake but art for MinJung. That was why they advocated the convergence of art and MinJung's life. Especially Kim Bok-Jin affirmed a link between art and industry because he considered industry the field inextricably linked with MinJung's life. In this context, his idea could be read as the generalization and equalization within the framework of possession. Kim Bok-Jin thought that the social ramifications of capitalism deprived MinJung of their right to enjoy art, and emphasized the artist' social role to return the right to them. That is, the even distribution of art was mainly discussed than the contents of art in the half of 1920s. By 1925, the contents of art itself became an issue in the PASKYULA art theory, and it was based in realism. Kim Bok-Jin and An Seok-Ju insisted that art should be reflection of real life. At that time, realism acquired the representation of MinJung and the nation's realities not realistic style. In fact, the various Western art styles including Futurism, Constructivism, Cubism etc. were exploited in the PASKYULA's visual images. Western art, target of criticism on theory, was selectively adopted in the works which were produced by Kim Bok-Jin and An Seok-Ju. Kim Bok-Jin's MoonYeUnDong cover design was conceived of as the example in which Western art was adopted with it's ideology under the influence of MAVO, while Western art shown in An Seok-Ju's illustrations served as a decorative function in many cases. Especially, An Seok-Ju attempted the various styles of Western art simultaneously, which may be seen as representing that PASKYULA did not have a firm ideology for their style. Also, it can be read as showing his hasty zeal to overcome Western art rapidly. The wish to establish "art for MinJung" as soon as possible was accompanied with the will to jump over the all steps of Western art though it was superficial. This aspiration of PASKYULA was expressed through the mass media, which had the potential for communicating to MinJung. At this point, there was a significant disparity between PASKYULA and another art groups in the first half of 1920s. However, the PASKYULA's method on the basis of the mass media could not but have a certain limitation because of the medium's properties. Nevertheless, PASKYULA' attempts may be considered to be valuable in sense that they expended the boundaries of Korean modern art into the commercial art questioning the matter of the distribution for art.

• Journal of the Korean Institute of Landscape Architecture
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• v.47 no.5
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• pp.14-27
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• 2019

This study presents a plan for a memorial park that respects the characteristics based on the historical facts for the concept of space of the Gwangju Hospital of Korea Army and the location of the 505 Security Forces, which were designated as historic sites after the 5-18 Democratization Movement. The Gwangju Metropolitan City as it is the location of the 5-18 historic sites, is taking part in the 5-18 Memorial Project, and plans to establish a city park recognizing the historic site of the 5-18 Democratization Movement, which has been preserved only as a memory space to this point. The park is promoting a phased development plan. This study suggests that the 5-18 historic sites can be modernized and that social consensus can establish the framework of the step-by-step planning and composition process to ensure the plans for the space heals wounds while preserving the history. In this paper, we propose a solution to a problem. We solve the approach for space utilization through an analysis of precedent research and planning cases related to park planning at historical sites. In addition to exploring the value of the site, we also describe the space utilization strategy that covers the historical characteristics and facts while maintaining the concept of park planning. As a result of the research, the historic site of the Gwangju Hospital of Korea Army is planned as a park of historical memory and healing in order to solve the problems left behind by the 5-18 Democratization Movement. The historic site of the 505 Security Forces was selected as an area for historical experiences and a place for learning that can be sympathized with by future generations of children and adolescents in terms of expanding and sustaining the memory of the 5-18 Democratization Movement. In the planning stage, the historical sites suggested the direction of space utilization for representation as did the social consensus of citizens, related groups, and specialists. Through this study, we will contribute to construction of a memorial park containing historical values in from 5-18 historic sites. It is meaningful to suggest a direction that can revitalize the life of the city as well as its citizen and can share with the history with future generations beyond being a place to heal wounds and keep alive the memory of the past.