• Journal of Korean Classical Literature and Education
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• no.35
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• pp.123-152
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• 2017

The 'Jeongi' genre is characterized by a style composed of poetry and prose. "Choi Chi-won" shows the important features of the early 'Jeongi' character. In this study, I explore the poetry-centered reading method, considering that "Choi Chi-won" is a work that contains a high proportion of poetry. In this paper, I propose a reading method that focuses on the change of 'rhyme' centering on the body. Secondly, it focuses on the 'Heung' reading method. If the readers focus on the poetry, they will concentrate more on their emotional functioning, so the lyrical characteristics can be more aesthetically captured through poetic poetry. The poetry-centered reading method can be proposed as a method to capture the multi-layered aesthetic qualities of texts with complex styles.

• Animal Systematics, Evolution and Diversity
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• v.29 no.3
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• pp.217-226
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• 2013

Chironomid adults were collected by light traps at night, sweeping on grasses, during daytime hours, sweeping of swarming males with an insect net, and aspiration of light-attracted adults using a sucking tube. The collected specimens were slide-mounted and examined. I identified two species new to science, namely Orthocladius manhaei n. sp. and Ablabesmyia jeongi n. sp., and three species for the first time in Korea: Paratrichocladius tamaator Sasa, 1981, Rheocricotopus chalybeatus (Edwards, 1929) and Hayesomyia tripunctata (Goetghebuer, 1922). This is the first report of the genera Rheocricotopus and Hayesomyia in Korea. The genus Hayesomyia in the tribe Pentaneurini of Tanypodinae has a Holarctic distribution with only one species recorded from each of the Palaearctic and Nearctic regions.

• Journal of architectural history
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• v.26 no.1
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• pp.7-16
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• 2017

One of the essential characteristics of Lewis Mumford's architectural criticism is the coherent emphasis on symbolism. Such emphasis stems from his understanding of city and humanity in the context of civilization: first, that the architecture symbolizes institutions of urban civilization; second, that the technical aspect of human nature should be balanced with its artistic aspects. Mumford believed that each architectural type requires an appropriate symbolic expression corresponding to its purpose and that a new symbolic expression, in a new cultural context, should replace the conventional expression. He took symbolism for an intuitional expression, and read multi-layered meanings of architecture: 'practical function' by way of rational reason and 'symbolic function' by way of intuition. He pursued a balance between practicality and beauty to rectify the situation of modern civilization, in which symbolism, the expression of its intuitional aspect, is in crisis. Ultimately, for Mumford, the essential task of architectural critic is of the interpretation of symbolism, aiming at the correspondence and communication between the architect(artist)'s intuition and critic(interpreter)'s via the media of symbol. The critic can play some privileged role of interpreting even symbols unintended by the architect. The ideal architectural critic, after all, would be the one who is able to understand the city, technology and human beings in the perspective of civilization and to interpret the architect's artistic expression in its highest form through intuition. Mumford established himself as such a critic and evaluated the status of aesthetic accomplishment of his contemporary architecture and technological civilization, giving emphasis on the artistic practice in architecture as a solution.