• 한국체육학회지인문사회과학편
• /
• v.54 no.5
• /
• pp.581-592
• /
• 2015

This research was fairness in sport and power is how they form and change through historical discussion on the sport's doping and ran afoul of fairness Explored in match-fixing in relationship with power, the product of the problems of human desires. First, doping and exploration of power. The history of doping in sports, history as long as it existed before. Medication is ruler of the players can't or don't conform with authority between the pair formed a relationship, where, in accordance with the victory of a temptation for wealth and fame and vested interests and desire, is personal, Society and country ranging and widely is committed. In particular, power of expression is reflected well reflected in the sport in the Cold War era and, in those days was wrong thinking and practices are still truly understands the connection between doping and anti-doping. Second, match-fixing and exploration of power. Also in the history of sport as doping, match-fixing, always existed. Sport and fairness of match-fixing in relation to artificial sources, and well decide the outcome of which ended with sport, not an issue connected to gambling and other crimes, And that's another sport and bring about a vicious circle of even turn into a row. The reason for this match fixing in power part of the formation of capital and profits for the exact cause has developed that further threatens the fair sport. Thus, in fairness, and relations of power in sport doping and match-fixing is historically very meaningful and, further research and discussion is needed. Buried the materialistic values of sport doping and match-fixing, nothing is being tolerated and other researchers' power as the elements of the pie grow only by sport only No one can guarantee that only satisfied if we hold a bright future of sport.

• Journal of Christian Education in Korea
• /
• v.72
• /
• pp.71-96
• /
• 2022

The purpose of this study is to analyze the origins and texts of Judaism Mishnah Nashim, to think from the educational theological perspective, to suggest a method to be applied to Christian education, and to analyze human rights issues in relation to women's marriage life. To achieve the goal of this study is first, to analyze the historical process up to the compilation of Mishna Nashim in order to analyze the origin and text of Mishna Nashim, and then, the seven Masekcotts were analyzed from the perspective of the researcher by dividing them into marriage-related civil law, divorce-related civil law, engagement-related civil law, adultery-related civil law, and vow and pledges related civil law in order to analyze the content of the text of Mishna Nashim. Second, in order to analyze Mishna Nashim in educational theology, marriage laws were analyzed by dividing them into brother-in-law marriage system, chastity system of marriage, divorce law, engagement law, adultery law, and vow and pledge law. Third, to apply Mishna Nashim to Christian education, marriage life education were divided into marriage education and divorce education, vow education and pledge education. The conclusion of this study is as follows. First, marriage education is necessary to establish a Christian family. Second, Divorce prevention education is necessary from the Christian point of view. Third, a spiritually healthy vow education must be conducted. Fourth, healthy pledge education is necessary to live as true Christians. As a result, Korean society still has a deep sense of patriarchal authority, and gender equality is still lagging behind. Discrimination, disparagement, taboos for divorce and remarriage, and stereotypes about gender roles of women still exist within the church, therefore, Christianity must provide an alternative solutions solutions.

• Korean Journal of Construction Engineering and Management
• /
• v.23 no.3
• /
• pp.13-24
• /
• 2022

Construction projects are exposed to various types of risks, which tend to increase. The increasing risks call for contractors' more attentions to forecasting and dealing with these risks. One of the measures to deal with contractors' risks is to forecast or estimate risk cost and include it in the construction budget. Although various researches in relation to risk cost have been observed, little attention has been paid to general contractors' perceptions and current practices in estimating risk cost of construction budget. The objective of the study is to identify and discuss key characteristics and implications based on the survey and analysis of general contractors' perceptions and current practices in estimating risk cost of construction budget. The study shows that there is a gap between the perception and the practice of estimating risk cost, that is, high perception of the importance of risk cost and a relatively low level of practice. It suggests that historical cost data, guidelines and corporate-level standard procedures are required to improve the current practice in addition to sufficient time allocations for risk cost estimating. It discusses that there is a need for using sophisticated estimating techniques including bid data analytics despite a low level of the current adoption, and also proposes that research and development in the field of the sophisticated estimating techniques should be further implemented in order to increase their practicality.

• Acta Via Serica
• /
• v.8 no.2
• /
• pp.25-52
• /
• 2023

The astronomic observatory of Graw Village is located on Mount Dari Lolikan, facing the village. Graw is located in the foothills of Mount Ser-i-Rash, 25 km northeast of Erbil Governorate, Iraq. This study attempts to clarify the foundations of this observatory, its components, as well as the founder and the date of its establishment. The study made efforts to clarify the benefits of this calendar to local residents in their daily lives. The database for this study is based on direct observation of the observatory station. The observation included the recording date and position of sunset and the appearance of stars throughout the year. Observation and documentation for both sunset and stars were performed over several years due to weather conditions since observation was not possible on foggy and rainy days and nights. Each observation took five to ten minutes depending on the clarity of the sky. The observatory consists of a group of stone cones. Each cone was built by stones in a specific location after careful and long observation of the sunset. Efforts were made to observe the disappearance and reappearance of the stars based on the change in the position of the Earth in relation to the sun. Graw's calendar helped to recognize important times of the year, such as the winter and summer forties, which were very important, especially when snow covered the roads, transportation stopped, crops spoiled, and pets stayed in their barn. The most important features of the winter forties are the memories, experiences, and minds of the villagers' ancestors. The forties were associated with the arrival of cold and heavier rain throughout the year, which is consistent with modern science, as the angle at which the Earth rotates increases the number and activity of weather depressions that affect the study area during this period. This observatory has a close connection with the daily life of the villagers, especially in the past centuries. It helped the people of the area in their appointments to carry out their work in the field of agriculture. The observatory was also of great importance in the field of education in the past centuries, especially in traditional religious schools. It also appears from this research that the calendar has ancient roots, which extend back thousands of years, as evidenced by the Ezidis who follow an ancient religion whose roots extend back thousands of years and who fast during both the winter and summer forties annually, with the participation of people in various regions of the world. It is not known who made this astronomic observatory but most of the oral information that has been passed down to us by word of mouth agrees on both Mullah Abdullah Al-Kurdi and Mullah Omar. Likely, this astronomic observatory was built around the late 17^th and early 18^th centuries.

• Journal of The Korean Association For Science Education
• /
• v.32 no.1
• /
• pp.15-29
• /
• 2012

The purpose of this study was to investigate the educational factors on career choice of science-gifted students to science and technology bound universities and the difference of perception in regards to group factors. In addition, this study aimed to examine the effects of science-gifted education and critical events in relation to career choice to science and technology bound universities. For the study, 104 university freshmen, 75 males and 29 females, were sampled from UNIST (Ulsan National Institute of Science and Technology), that many science high school graduates entered this year. The survey was conducted with questionnaires to do with the perceptions concerning career choice and educational factors that cause them to choose such career directions. The educational factors on career choice to science and technology bound universities were classified as 3 main categories such as educational environment factor (teaching-learning factor), human factor, attitude towards science factor and the subcategories within each category. The research findings are as follows: First, the factors were closely connected with each other and 'the project centered classes' were highly interrelated with other educational environment factors such as 'the experiment activity and environment for the activity' and 'influence of teachers (professors).' Second, the female students and graduates of the science high school were more positively influenced by the educational environment and human factors on their decision for career than male students and graduates of the general high school. Third, this research found that historical scientific knowledge, perception of scientists' social status and job applications in the science field gave less influence rather than other factors on their decision for career. As a result of examining critical events for science-gifted education in relation to career choice to science and technology bound universities, numerous students mentioned that the extracurricular science activities such as science camps and field trips gave significant effects on students' career choices to science and engineering fields.

• Journal of Korean Library and Information Science Society
• /
• v.32 no.2
• /
• pp.289-306
• /
• 2001

This paper seeks to know a out the 'University and College Archives', which are to be established under the provision of 'the Law on the Management of the Institutions', and briefly mention the relation with the library, looking into the concept and backgrounds of archives. The enactment of the law became the ground to establish but there is no practical guidelines on the structure, formation, management, and contents of archives, even worse, people do not know well what the archives is. Therefore, I think so know about academic archives should start understanding basic concept, meaning, and necessities of the archives. In Europe, university archives have been established from 1830s, after the other archives had been established. In America, universities, which had been grown owe to the rapid economic development and the increasing of high educated people, began to establish their archives as a way to invest to improve their being and promote continuing growth. This is to prove their being and value in the society by collecting and preserving records and documents produced in the development of universities. Therefore, university archives can be said that it is the receiving agency for the producers of the university records, researching functional purpose, contents of university records, and relation with other institutions or records. This is the very difference from university libraries as collecting agencies. Nevertheless, university libraries and archives can help each other to activate their functions and improve their positions in universities through cooperating for the policy of digital records preserving and approaching them because the tendency of informationization forces universities to stand on various information resources to serve for routine university works. Each institutions of universities needs archival records due to various reasons. It is especially necessary to preserve and manage archival records to prove the confidence of records.

• Korean Journal of Ecology and Environment
• /
• v.53 no.3
• /
• pp.229-240
• /
• 2020

In this study, the results of fish assemblage survey for 16 reservoirs in the Yeongsan·Seomjin-River watershed were presented with fish assemblage characteristics analysis in relation to reservoir size. The survey method including number of sampling sites was followed the "Biomonitoring survey and assessment manual" of the Ministry of Environment/National Institute of Environmental Research (MOE/NIER), and the reservoirs were categorized as three size groups, small, medium or large reservoirs, based on the MOE/NIER as well. Total 13 family classified into 44 species were collected from 2018 (7 reservoirs) to 2019 (9 reservoirs), and the dominant and subdominant species were Hemiculter eigenmanni (Relative abundance, RA, 32.9%) and Lepomis macrochirus (RA, 31.4%), respectively. As a result of the analysis in relation to the reservoir size, the average (±standard deviation) number of species of the small, medium and large reservoirs were 11±2.9, 14.3±2.1, 22.7±0.6, respectively, which showed positive correlation with the reservoir size. Total 6 fish assemblage characteristics(number of species, number of individuals, richness index, herbivorous fish ratio, carnivorous fish ratio, exotic fish ratio) showed significant differences between the each reservoir size groups (P<0.05). As a result of cluster analysis, 16 reservoirs were clustered into 5 groups with 60% similarity, and the each reservoirs seems to be clustered depends on the distance from each other, watershed and their historical geology rather than size. These results are baseline information for the understanding of fish assemblage in Korean reservoirs, important for establishing management policy of reservoirs in the Yeongsan·Seomjin-River watershed.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.30 no.2
• /
• pp.119-129
• /
• 2012

Yongdoseo and Guimunwon are described in "Bokgeo(卜居, fixabode)" of "Sanlimkyengje(山林經濟)" written by Manseon Hong. This record is a unique garden conceptual idea applying the principles of Hetu(河圖) and Luoshu(洛書), fanciful gardens which have not been actually constructed. Here, two garden types were concretely described respectively, however the underlying meaning therein cannot be apprehended without exact understanding about Sangsu studies. Therefore, the purpose of this study is to illuminate the meaning contained in Garden illustration and the historical meaning of landscape therein through considering this text. To achieve the purpose of this study, the writer and the compiler who are the background of this writing and the outline of Sangsu studies were investigated. Also, the principles of Saengsu(生數), Seongsu(成數), Yin Yang(陰陽), Four Bodies(四象), Palgwedo(八卦圖), etc. which are in Hetu and Luoshu were considered. The result of this study went through this research process is summarized as follows. First, Hetu Luoshu are conceptual definitions which wholly abstracted the basic propositions of Sangsu philosophy such as the universe change principle, etc., while Yongdoseo and Guimunwon can be said to be operational definitions which apply those as garden composition principle, enabling to experience the meaning contained therein concretely and explain it in a replicable way. This attempt is a unique example, unprecedented in Chinaas well. Second, as a livingspace, garden was selected as a means to concretize operational definitions about the meaning of Hetu Luoshu, and as the property to reproduce the bearings concept, the location and the number, etc. of Hetu Luoshu, Taegukjeong(太極亭), Shipjagak(十字閣), Dondae(墩臺), well, pond as well as various kinds of trees were used. Third, the main motif of Yongdoseo and Guimunwon is the relation between Apriority(先天) and Posterior(後天), and the relation between Constitution(體) and Use(用) of Hetu and Luoshu respectively. That is, Yongdoseo planted evergreen trees such as Shipjangcheong(十長靑) in order to symbolize the universe creation principle which Hetu stands for, i.e. silent, harmonious, orderly and win-win image. In Guimunwon, flowering trees(花木) and fruit trees(果木) were planted freely to express the change of Posterior which Luoshu stands for, thatis, dynamic, disharmonious, disorderly, incompatible(相剋) and changing image. The effects intended to be attained through such planting were, 'freshness and cheerfulness(淸爽)' of Yongdoseo and 'splendidness' of Guimunwon respectively. Sangsu studies based on Hetu and Luoshu is a unique thinking system to the Orient which came from the accumulated wisdom of several scholars from various schools through a long period since ancient times. Therefore, the concept and the theory thereof are profound and huge, and its viewpoints of interpretation are diverse. It is a limit of this study that more in-depth and various consideration was not performed. As a further research project, more empirical study of Orientalism such as Sangsu studies, etc. inherent in Traditional Garden is necessary.

• MISULJARYO - National Museum of Korea Art Journal
• /
• v.96
• /
• pp.18-53
• /
• 2019

The paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were recently donated to the National Museum of Korea and unveiled to the public for the first time at the 2019 special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea." These two paintings carry significant implications for understanding Joseon art history. Because the fact that they were components of a folding screen produced after a sightseeing tour of the Gwandong regions in 1557 has led to a broadening of our understanding of sixteenth-century landscape painting. This paper explores the art historical meanings of Gyeongpodae Pavilion and Chongseokjeong Pavilion by examining the contents in the two paintings, dating them, analyzing their stylistic characteristics, and comparing them with other works. The production background of Gyeongpodae Pavilion and Chongseokjeong Pavilion can be found in the colophon of Chongseokjeong Pavilion. According to this writing, Sangsanilro, who is presumed to be Park Chung-gan (?-1601) in this paper, and Hong Yeon(?~?) went sightseeing around Geumgangsan Mountain (or Pungaksan Mountain) and the Gwandong region in the spring of 1557, wrote a travelogue, and after some time produced a folding screen depicting several famous scenic spots that they visited. Hong Yeon, whose courtesy name was Deokwon, passed the special civil examination in 1551 and has a record of being active until 1584. Park Chung-gan, whose pen name was Namae, reported the treason of Jeong Yeo-rip in 1589. In recognition of this meritorious deed, he was promoted to the position of Deputy Minister of the Ministry of Punishments, rewarded with the title of first-grade pyeongnan gongsin(meritorious subject who resolved difficulties), and raised to Lord of Sangsan. Based on the colophon to Chongseokjeong Pavilion, I suggest that the two paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were painted in the late sixteenth century, more specifically after 1557 when Park Chung-gan and Hong Yeon went on their sightseeing trip and after 1571 when Park, who wrote the colophon, was in his 50s or over. The painting style used in depicting the landscapes corresponds to that of the late sixteenth century. The colophon further states that Gyeongpodae Pavilion and Chongseokjeong Pavilion were two paintings of a folding screen. Chongseokjeong Pavilion with its colophon is thought to have been the final panel of this screen. The composition of Gyeongpodae Pavilion recalls the onesided three-layered composition often used in early Joseon landscape paintings in the style of An Gyeon. However, unlike such landscape paintings in the An Gyeon style, Gyeongpodae Pavilion positions and depicts the scenery in a realistic manner. Moreover, diverse perspectives, including a diagonal bird's-eye perspective and frontal perspective, are employed in Gyeongpodae Pavilion to effectively depict the relations among several natural features and the characteristics of the real scenery around Gyeongpodae Pavilion. The shapes of the mountains and the use of moss dots can be also found in Welcoming an Imperial Edict from China and Chinese Envoys at Uisungwan Lodge painted in 1557 and currently housed in the Kyujanggak Institute for Korean Studies at Seoul National University. Furthermore, the application of "cloud-head" texture strokes as well as the texture strokes with short lines and dots used in paintings in the An Gyeon style are transformed into a sense of realism. Compared to the composition of Gyeongpodae Pavilion, which recalls that of traditional Joseon early landscape painting, the composition of Chongseokjeong Pavilion is remarkably unconventional. Stone pillars lined up in layers with the tallest in the center form a triangle. A sense of space is created by dividing the painting into three planes(foreground, middle-ground, and background) and placing the stone pillars in the foreground, Saseonbong Peaks in the middle-ground, and Saseonjeong Pavilion on the cliff in the background. The Saseonbong Peaks in the center occupy an overwhelming proportion of the picture plane. However, the vertical stone pillars fail to form an organic relation and are segmented and flat. The painter of Chongseokjeong Pavilion had not yet developed a three-dimensional or natural spatial perception. The white lower and dark upper portions of the stone pillars emphasize their loftiness. The textures and cracks of the dense stone pillars were rendered by first applying light ink to the surfaces and then adding fine lines in dark ink. Here, the tip of the brush is pressed at an oblique angle and pulled down vertically, which shows an early stage of the development of axe-cut texture strokes. The contrast of black and white and use of vertical texture strokes signal the forthcoming trend toward the Zhe School painting style. Each and every contour and crack on the stone pillars is unique, which indicates an effort to accentuate their actual characteristics. The birds sitting above the stone pillars, waves, and the foam of breaking waves are all vividly described, not simply in repeated brushstrokes. The configuration of natural features shown in the above-mentioned Gyeongpodae Pavilion and Chongseokjeong Pavilion changes in other later paintings of the two scenic spots. In the Gyeongpodae Pavilion, Jukdo Island is depicted in the foreground, Gyeongpoho Lake in the middle-ground, and Gyeongpodae Pavilion and Odaesan Mountain in the background. This composition differs from the typical configuration of other Gyeongpodae Pavilion paintings from the eighteenth century that place Gyeongpodae Pavilion in the foreground and the sea in the upper section. In Chongseokjeong Pavilion, stone pillars are illustrated using a perspective viewing them from the sea, while other paintings depict them while facing upward toward the sea. These changes resulted from the established patterns of compositions used in Jeong Seon(1676~1759) and Kim Hong-do(1745~ after 1806)'s paintings of Gwandong regions. However, the configuration of the sixteenth-century Gyeongpodae Pavilion, which seemed to have no longer been used, was employed again in late Joseon folk paintings such as Gyeongpodae Pavilion in Gangneung. Famous scenic spots in the Gwandong region were painted from early on. According to historical records, they were created by several painters, including Kim Saeng(711~?) from the Goryeo Dynasty and An Gyeon(act. 15th C.) from the early Joseon period, either on a single scroll or over several panels of a folding screen or several leaves of an album. Although many records mention the production of paintings depicting sites around the Gwandong region, there are no other extant examples from this era beyond the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion discussed in this paper. These two paintings are thought to be the earliest works depicting the Gwandong regions thus far. Moreover, they hold art historical significance in that they present information on the tradition of producing folding screens on the Gwandong region. In particular, based on the contents of the colophon written for Chongseokjeong Pavilion, the original folding screen is presumed to have consisted of eight panels. This proves that the convention of painting eight views of Gwangdong had been established by the late sixteenth century. All of the existing works mentioned as examples of sixteenth-century real scenery landscape painting show only partial elements of real scenery landscape painting since they were created as depictions of notable social gatherings or as a documentary painting for practical and/or official purposes. However, a primary objective of the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion was to portray the ever-changing and striking nature of this real scenery. Moreover, Park Chung-gan wrote a colophon and added a poem on his admiration of the scenery he witnessed during his trip and ruminated over the true character of nature. Thus, unlike other previously known real-scenery landscape paintings, these two are of great significance as examples of real-scenery landscape paintings produced for the simple appreciation of nature. Gyeongpodae Pavilion and Chongseokjeong Pavilion are noteworthy in that they are the earliest remaining examples of the historical tradition of reflecting a sightseeing trip in painting accompanied by poetry. Furthermore, and most importantly, they broaden the understanding of Korean real-scenery landscape painting by presenting varied forms, compositions, and perspectives from sixteenth-century real-scenery landscape paintings that had formerly been unfound.

• Cartoon and Animation Studies
• /
• s.37
• /
• pp.509-537
• /
• 2014

This paper proposes 'postfilimc metamorphosis' and 'reanimation' as two concepts that aim at giving account to the aesthtetic tendencies and genealogies of what Suzanne Buchan calls 'pervasive animation', a category that refers to the unprecedented expansion of animation's formal, technological and experiential boundaries. Buchan's term calls for an interdisciplinary approach to animation by highlighting a range of phenomena that signal the growing embracement of the images and media that transcend the traditional definition of animation, including the lens-based live-action image as the longstanding counterpart of the animation image, and the increasing uses of computer-generated imagery, and the ubiquity of various animated images dispersed across other media and platforms outside the movie theatre. While Buchan's view suggests the impacts of digital technology as a determining factor for opening this interdisciplinary, hybrid fields of 'pervasive animation', I elaborate upon the two concepts in order to argue that the various forms of metamorphorsis and motion found in these fields have their historical roots. That is, 'postfilmic metamorphosis' means that the transformative image in postfimic media such as video and the computer differs from that in traditional celluloid-based animation materially and technically, which demands a refashioned investigation into the history of the 'image-processing' video art which was categorized as experimental animation but largely marginalized. Likewise, 'reanimation' cne be defined as animating the still images (the photographic and the painterly images) or suspending the originally inscribed movement in the moving image and endowing it with a neewly created movement, and both technical procedues, developed in experimental filmmaking and now enabled by a variety of moving image installations in contemporary art, aim at reconsidering the borders between stillness and movement, and between film and photography. By discussing a group of contemporary moving image artworks (including those by Takeshi Murata, David Claerbout, and Ken Jacobs) that present the aesthetic features of 'postfilmic metamorphosis' and 'reanimation' in relation to their precursors, this paper argues that the aesthetic implications of the works that pertain to 'pervasive animation' lie in their challenging the tradition dichotomies of the graphic/the live-action images and stillness/movement. The two concepts, then, respond to a revisionist approach to reconfigure the history and ontology of other media images outside the traditional boundaries of animation as a way of offering a refasioned understanding of 'pervasive animation'.