• The Korean Journal of Air & Space Law and Policy
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• v.35 no.1
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• pp.33-62
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• 2020

The current air transportation industry is facing a lot of changes not only in the quantitative growth of the market, but also in the legal aspects. For many years, the Warsaw Convention has contributed to the uniform discipline of civil carriers' legal liabilities arising from international aviation accident and has fulfilled the duties of legal guardians for the development of the air transport industry. In the process, however, the consumer interests of the air transport industry did not have much protection compared to other industries. In response, the Montreal Convention has effected for protecting the interests of aviation consumers, and there are numerous legal changes around the world to protect aviation consumers like passengers. The mental damages of airline passengers arising from the accident can also be understood as part of the protection of air consumers. Considering that the US Federal Court has dealt with the recognition of mental damages for air passengers since the early 1990s. However, Korean judicial precedent still excludes mental anguishes from the scope of damage compensation. From this point of view, it is considered academically meaningful to analyze the latest case of the US federal court. Recently, the United States Court of Appeal for the Sixth Circuit in Doe v Etihad Airways applied a different interpretation against the traditional opinion: passengers could not recover for mental distress unless that mental distress resulted from a bodily injury sustained in an airplane accident. The background of the court's conclusions can be explained in many ways, among other things, unlike the Warsaw Convention the new international rule, Montreal Convention is recognizing the importance of ensuring protection of the interests of consumers in international carriage by air and the need for equitable compensation based on the principle of restitution.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.2
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• pp.57-66
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• 2010

In reviewing 'Dongkukesangkukjip(東國李相國集)' a selection of prose and poetry describing Toesikje, the house of Kee Heung-soo, a military official in the middle Goryeo Dynasty, the outcome of the study intended to infer garden scenery and landscape culture managed and possessed by high society at that time is outlined as follows. First, Kee Heung-soo, the owner of the house and Lee Kyu-bo, the author of Toesikje Palryeng(退食齋八詠) are thought to be those who first designated the 8 scenic points and recreated the concept of public enjoyment of into the concept of personal enjoyment in Korea. Second, the spatial configuration of the Toesikje garden is presumed to be in the Gee-Seung-Jeon-Gyul(introduction-development-turn-conclusion) style in which a fairyland is built to enjoy a free and peaceful life, while anticipating coming days and pursuing creation-prosperity-transcendence-return. Third, the viewpoint structure of the scenery Wongyeong(Toesikje), Donggyeong(Youngcheondong), Cheonggyeong(Cheokseojung), Myunggyeong(Dokrakwon), Jingyeong(Yeonmukdang), Sigyeong(Yeoneuiji), Yunggyeong(Nokgunheon), and Hyungyeong(Daehoseok) contains a symbolic universal vision of Palchejigyeongsek(the 8 scenic points) which incorporates Samwon(heaven, earth and water) and Obangwi(orientations), and the harmonization principle of the scenic points where the building and garden are harmonized. Fourth, Je, Dang, and Heon, Jeong(齋, 堂, 軒, 亭) are introduced to the garden, and Geehwayeecho, Jingeumgeesoo, Gasan and Goeseok(stone) were used in a variety of ways. Fifth, it was found that the management of Shinseongyeong and enjoyment of Yoosanggoksu events, with the study and seeking of perfect knowledge and discipline, wandering and rest led to a sublime appreciation of aesthetic beauty and divine glory. Sixth, a miniature garden was built to enjoy the view from above, together with the view in the distance, and a culture of secluded living, along with scenery expressing the heart's desire for Utopia was induced.

• The Journal of Art Theory & Practice
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• no.5
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• pp.217-229
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• 2007

Many historical research and facet about modern art in Indonesia which formulating background of contemporary Indonesian Art. Indonesian art critic Sanento Yuliman states that Modern art has been rapidly developing in Indonesia since the Indonesian Independence in 1945. Modern Art is a part of the super culture of the Indonesian metropolitan and is closely related to the contact between the Indonesian and Western Cultures. Its birth was part of the nationalism project, when the Indonesian people consists of various ethnics were determined to become a new nation, the Indonesian nation, and they wished for a new culture, and therefore, a new art. The period 1960s, which was the beginning of the creation and development of the painters and the painters associations, was the first stage of the development of modern art in Indonesia. The second stage showed the important role of the higher education institutes for art. These institutes have developed since the 1950s and in the 1970s they were the main education institutes for painters and other artists. The artists awareness of the medium, forms or the organization of shapes were encouraged more intensely and these encouraged the exploring and experimental attitudes. Meanwhile, the information about the world's modern art, particularly Western Art; was widely and rapidly spread. The 1960s and 1970s were marked by the development of various abstractions and abstract art and the great number of explorations in various new media, like the experiment with collage, assemblage, mixed media. The works of the Neo Art Movement-group in the second half of the 1970s and in the 1980s shows environmental art and installations, influenced by the elements of popular art, from the commercial world and mass media, as well as the involvement of art in the social and environmental affairs. The issues about the environment, frequently launched by the intellectuals in the period of economic development starting in the 1970s, echoed among the artists, and they were widened in the social, art and cultural circles. The Indonesian economic development following the important change in the 1970s has caused a change in the life of the middle and upper class society, as has the change in various aspects of a big city, particularly Jakarta. The new genre emerged in 1975 which indicates contemporary art in Indonesia, when a group of young artists organized a movement, which was widely known as the Indonesian New Art Movement. This movement criticized international style, universalism and the long standing debate on an east-west-dichotomy. As far as the actual practice of the arts was concerned the movement criticized the domination of the art of painting and saw this as a sign of stagnation in Indonesian art development. Based on this criticism 'the movement' introduced ready-mades and installations (Jim Supangkat). Takes almost two decades that the New Art Movement activists were establishing Indonesian Installation art genre as contemporary paradigm and influenced the 1980's gene ration like, FX Harsono, Dadang Christanto, Arahmaiani, Tisna Sanjaya, Diyanto, Andarmanik, entering the 1990's decade as "rebellion period" ; reject towards established aesthetic mainstream i.e. painting, sculpture, graphic art which are insufficient to express "new language" and artistic needs especially to mediate social politic and cultural situation. Installation Art which contains open possibilities of creation become a vehicle for aesthetic establishment rejection and social politics stagnant expression in 1990s. Installation art accommodates two major field; first, the rejection of aesthetic establishment has a consequences an artists quest for medium; deconstruction models and cross disciplines into multi and intermedia i.e. performance, music, video etc. Second aspect is artists' social politic intention for changes, both conclude as characteristics of Indonesian Installation Art and establishing the freedom of expression in contemporary Indonesian Art until today.

• Korean Journal of Heritage: History & Science
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• v.46 no.1
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• pp.102-123
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• 2013

This paper is a study about the Gang Sehwang's (姜世晃 1713~1791) Ink Orchid Painting. Gang Sehwang is a representative literati gentleman who painted Four Gentlemen, for the first time, during the late Joseon Dynasty. There are 20 pieces of Ink Orchid Painting of his in Korea. His recognition of the Ink Orchid Painting can be understood through his records and analysis of his Ink Orchid Painting. He considered the sketch from the nature (寫生), practice of old paintings (古畵), and copy-training of the manual of paintings (畵譜). Particularly, Gang Sehwang focused on the copy-training of old paintings (古畵臨倣) which integrates the will and spirit of old literati gentlemen. This means that he had recognized the picture as a means of 'literature carrying morality (載道). Also, we could read self-discipline (修己的) values from his continuative copy-training of the manual of paintings (畵譜臨倣). Next, his Ink Orchid Painting were divided into the first half of the term (his 30s to 40s) and the second half of the term (his 60s to 78 years old). He had polished up on the Jieziyuanhuazhan ("芥子園畵傳") during the first half of the term and on the Shizhuzhaishuhuapu ("十竹齋書畵譜") or the Maejuknanguksabo ("梅竹蘭菊四譜") during the second half of the term. Therefore, it could be understood that he had depended on the manual of paintings (畵譜) for a long time. Nevertheless, he had completed the elegant and graceful Pyeoam Orchid (豹菴蘭)' based on his skill of the manual of paintings (畵譜) in his 70s. Finally, the 18th century Ink Orchid Painting and painters who lived (worked) at that time were investigated. He made?? the Albums of Calligraphy and Painting (書畵合壁帖) with Shim Sajeong (沈師正) and Choi Buk (崔北). They also interacted with each other by Calligraphy and Painting (書畵). Also, Yi Insang (李麟祥) and Im Heeji (林熙之) contributed to the diversification of the 18th century Ink Orchid Painting style by imitating Ink Orchid Painting with the manual of paintings (畵譜). Moreover, it is meaningful that the Ink Orchid Painting of Gang Se-hwang and the18th century Ink Orchid painters influenced the foundation of the 19th century Ink Orchid Painting fashion.

• (The)Study of the Eastern Classic
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• no.36
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• pp.375-402
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• 2009

In this study, the researcher put together the changing process of Chinese Confucian into Korean Confucian Thought in the dimension of Chiin 'Governing of Others. By analyzing 'Seonghak jibyo' which is reinterpretation of 'Daehak' and also academic enrichment, the researcher investigated the aspects of acceptance of 'Daehak' in Joseon Period. 'Daehak' was the basic textbook for 'Emperorship Learning'(帝王學, 'Jewang Hak') as well as 'Sage Learning'(聖學, 'Seong Hak') over the whole Joseon Period, and it can be understood that 'Seonghak jibyo'- the Essentials of Sagely Learning compiled by Yulgok(栗谷) is the totalization of such learning. Yulgok organized the system of 'Seonghak jibyo' largely in five volumes and placed Samgangnyeong(三綱領, Three Doctrines or Essential Principles) and Paljomok(八條目, Eight Articles) of 'Daehak' in an appropriate manner. Among those, 'Chiin' was discussed intensively in the Volume Three, 'Jeonga'(正家-Family in Correct State) and also the Volume Four, 'Uijeong'(爲政 the king exercises government by means of his virtue). In the volume, 'Jeonga', Yulgok clearly arranged the core virtues for which the family is obliged to put into practice in everyday life having segmented the contents of the doctrine of Jega(齊家-to order family relationships) in 'Daehak', and, in 'Uijeong', Yulgok deepened the contents of 'Chiguk Pyeongcheonha'(治國平天下, ordering the state, bringing peace to the whole world) and presented consciousness on the spirit of contemporary as well as the practice of the state managements in an affirmative manner. These prove the validity of learning steps by presenting the practice guideline to fit the situation while well preserving the basic system of Confucian thought that leads to 'Chiin' (治人-'Governing of Others' or Governance of humankind) based on 'Sugi'(修己, the cultivation of the self). And such viewpoints feature the characteristics of Joseon Confucian Thought which had been through more abundant enrichment process than Chinese Confucian. Therefore, Yulgok's thoughts expounded in The Essentials of Sagely Learning(聖學輯要, 'Seonghak jibyo') can be regarded as criteria to understand humanity and arts cherished by Joseon people, as well as the distinctive features of politics.

• Korean Journal of Heritage: History & Science
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• v.55 no.4
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• pp.212-240
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• 2022

This study is a multi-layered exploration of 「The Thirty-Six Scenery of Seongdeok Summer Mountain Resort(承德避暑山莊三十六景)」 (The 36th view of Kangxi) recited by Emperor Kangxi of China through literature study, ancient calligraphy diagrams, and field studies. The conclusion of tracing the landscape characteristics and implications contained in 「The 36th view of Kangxi」 through the analysis of the headword(標題語) and the interpretation of the Jeyeong poem(題詠詩) is as follows. 「The 36th view of Kangxi」 is an extension of the outer edge of the Eight Sceneries, and when compared to the existing Eight Sceneries peom and Eight Sceneries painting, it is found that the landscape is centered on the 'viewpoint' rather than the landscape object. In particular, it aimed to create a structured landscape centered on nine types of buildings represented by 'Jeon(殿)' and 'Jeong(亭)' was given. In particular, Yeouiju, located in Lake district, is a scenic country endowed with the character of a gardens in Garden, which is composed by collecting famous representative Chinese landscapes and landscapes of Sansu-si and Sanshu Painting. As a result of headword analysis to understand the characteristics of landscape components, 14 landscapes (38.9%) related to water elements and 13 landscapes(36.1%) related to mountain elements, the elements related to architecture and civil engineering were classified in the order of 3 cases(8.3%), and the elements related to the skylight were classified in the order of 2 cases(5.6%). However, in Jeyeong-si, the mention of landscape vocabulary for climate elements was overwhelming. In other words, in the poems of 「The 36th Scenery of Kangxi」, scenery vocabulary symbolizing 'coolness' such as 雲(cloud), 水(water), 泉(spring), 清(clear), 波(wave), 流(wave), 風(wind) and 無暑(without heat), etc. It is not a coincidence that it appears, and it is strongly attached to the sense of place of Summer Mountain Resort in Rehe(熱河). Among the 23 landscapes whose seasonal background was confirmed, the fact that the lower landscape is portrayed as the majority and the climate elements of the resort area are portrayed in three-dimensional and multi-dimensional ways are closely related to the period of enjoying the gardens of Kangxi, the main subject of the landscape. In addition, many animal and plant landscapes appearing in Jeyeong-si appear to be in the same context as the spatial attributes of not only recreation, but also contemplation and hunting. On the other hand, in Jeyeongsi, there are 33 wonders(91.7%) citing famous people and famous books through ancient poems, old stories, and ancient stories tends to be prominent. It is inferred that this was based on Kangxi's understanding and pride in traditional Chinese culture. In 「The 36th view of Kangxi」, not only a book-writing description of the feelings of being entrusted to the family sutras, but also the spirit of patriotism, love, self-discipline and respect for mother and filial piety are strongly implied. Ultimately, 「The 36th view of Kangxi」 shows the real scene of the resort, as well as the spiritual dimension, in a multi-faceted and three-dimensional way, and the spirit of an emperor based on the dignity of the royal family and the sentiments of a writer it deserves to be called a collection of imperial records that were intended to reveal.

• Journal of The Korean Association For Science Education
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• v.19 no.2
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• pp.239-247
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• 1999

This study is to make suggestion for developing textbook systematically by analyzing biological contents and organization in science textbooks which are important instructional media to accomplish objectives of the 6th middle school science curriculum. The inclusiveness degree of the 6th science educational objectives reflected in the textbooks was analyzed by Klopfer's and the Korean Educational Department's objectives taxonomy. And the biological contents and the organization of the science textbook were analyzed by learner, subject matter, and society dimensions which are selecting criteria for curriculum objectives suggested in Tyler's curriculum model. The analyzed results are as follows: 1. The inclusiveness degree of the educational objectives was very low. 2. Regarding the dimension of learner, the concepts of formal operational cognitive level were much increased as grade becomes higher. And the degree of learner's interests reflected on the learning topics and domains was very low. 3. Regarding the dimension of subject matter, the concept-centered learning was increased, in relation to inquiry learning as grade becomes higher. The analyzed results of inquiry subskills showed that observation, classification, and recording skills in 1st grade, observation and operation skills in 2nd grade, and interpreting data skills in 3rd grade were centered. As the problems and processes were presented, so most of inquiry activities had low openness scale. The learning contexts were organized into discipline-centered in relation to real life. 4. Regarding society dimension, the learning topics of environments and health were much presented. but those of biotechnology and career were presented scarcely. And most learning topics related society dimension were organized in textbooks of the 2nd and 3rd grade. These suggested that to accomplish curriculum objectives effectively. the inclusiveness degree of educational objectives is to increase and, the contents and organization of textbook were constructed harmoniously in aspects of learner, subject matter and society dimensions.

• Journal of the Korean earth science society
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• v.28 no.2
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• pp.169-178
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• 2007

In this research we diagnosed the actual status of the 7th National science elective curriculum and suggested a way to select and organize the content of the new science elective curriculum. The first science education reform was grounded in the structuralism where the structure of discipline was valued above everything else. On the other hand, the second science education reform suggested alternative interpretations of students' opportunity to learn, putting a brake on the structuralist thinking. According to the survey result, the majority of the science elective courses are in need for revision because the contents are overcrowded, too difficult in light of students' learning readiness, failed to draw students' interest in science, and are overlapped and repeated among the 10th grade science, high school science I and II. In particular, Earth Science II and physics II are the most unfavorable courses among students. Thus, we recommended a fundamental change be made in the new curriculum in addition to the optimization of the content. In this paper, we suggested 'topic-centered content organization' for the science elective course I, i.e., Physics I, Chemistry I, Biology I and Earth Science I that is designed for both science track and non-science track students. Since curriculum provides students with an 'opportunity to learn', a curriculum study should focus on what the 'opportunity to learn' is that students ought to be offered. Based on the result of this study, we recommended one way to select and organize the content of high school elective curriculum.

• Journal of the Korean Society of Radiology
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• v.9 no.3
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• pp.147-168
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• 2015

In this research, we have analyzed the impact factors on the bone mineral density thru the examination of bone density difference in the entire femur, femoral neck and lumbar of adult women before the menopause in accordance with the general features, lifestyle, eating habits, health and body composition. The survey was conducted among adult women before the menopause and older than 30 years based on the data of the National Health and Nutrition Examination Survey carried out in the 4th term (2008-2009) and 5th term (2010-2011) and we would like to provide the research results for the establishment of recommendations or guidelines for the treatment of adult women before the menopause with regard to the impact factors on the bone mineral density and for the development of health education materials for the accurate measurement of bone mineral density of young women in order to prevent the postmenopausal osteoporosis. With respect to the general features of adult women before the menopause, the bone mineral density was higher in the entire femur at age 40-44, femoral neck at 35-39, in high-school education level, in the earlier menarche group, without smoking experiences, with regular walking time and exercise frequency and with the habits of eating no hamburger or pizza. With regard to the body composition, the bone mineral density was higher in obesity and lower in underweight cases, higher among people with abdominal obesity and weight control experiences. In terms of total body fat ratio, total amount of fat and muscle, the bone mineral density got gradually increased from the 1st quarter (Q1) to the 4th quarter(Q4). The obesity, disease, total amount of fat and muscle were shown to be significantly related with the bone mineral density in this research and it is required for young women to keep the adequate weight and the normal BMI in order to increase the bone mineral density. For the prevention of osteoporosis, it is advised to keep the right habits including regular exercise and no smoking discipline from the growing period and achieve the maximum bone mass thru the control of proper weight from a young age.

• Economic and Environmental Geology
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• v.40 no.5
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• pp.651-660
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• 2007

Acid drainage has been recognized as an environmental concern in abandoned mine sites for long time. Recently, the environmental and structural damage by acid drainage is a current issue in construction sites in Korea. Here, the author introduces the type of damages by acid drainage in construction sites and emphasizes the importance of geoscience discipline in solving the problem. Metasedimentary rock of Okcheon group, coal bed of Pyeongan group, Mesozoic volcanic rock. and Tertiary sedimentary and volcanic rocks are the major rock types with a high potential for acid drainage upon excavation in Korea. The acid drainage causes the acidification and heavy metal contamination of soil, surface water and groundwater, the reduction of slope stability, the corrosion of slope structure, the damage on plant growth, the damage on landscape and the deterioration of concrete and asphalt pavement. The countermeasure for acid drainage is the treatment of acid drainage and the prevention of acid drainage. The treatment of acid drainage can be classified into active and passive treatments depending on the degree of natural process in the treatment. Removal of oxidants, reduction of oxidant generation and encapsulation of sulfide are employed for the prevention of acid drainage generation.