• (The)Study of the Eastern Classic
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• no.50
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• pp.295-318
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• 2013

The purpose of this study was to define the 'caligraphy as a modern concept of art. For this purpose, it was necessary to exclude the elements betraying 'the caligraphy as a pure art' in reference to 'autonomy' as an indicator of modernity in order to reflect on the current topology of the caligraphy in our age. Checking the current conditions facing the caligraphy from the pre-modern, modern and post-modern perspectives will clarify the current topology of the caligraphy and further exploring 'the caligraphy as a post-modern art concept. To this end, this study defines the caligraphy 'as a pure formative art' and thereby discusses it in terms of nature and form. In terms of nature, the caligraphy should be subsumed into a spacial art, but it has a nature of a temporal art created and appreciated over time. Hence, among the spacial arts, the painting is most similar to the caligraphy, while among the temporal arts, the caligraphy is most similar to such rhythmic (of high mobility) or performing arts as music and dance. Merely, the painting does not reveal the flow of time on the canvas, while music and dance leave no residual in terms of audibility and visuality. All in all, the caligraphy is sort of 'temporal-spacial art' like dance in that the visible letters express the artist's sense of life on the plane over time like music. In terms of form, this study compares the caligraphy with engraving, wood print and character design to define the caligraphy as a pure art concept. The caligraphy as a modern art concept, namely, the autonomy of the caligraphy is associated with legibility and meaning in addition to the question whether it is an applied or a pure art. The legibility and meaning of the characters are not only the essential elements of the caligraphy but also are the factors limiting its autonomy, which must be a paradox. All in all, the legibility and meaning of the characters must be the key criteria for determining the caligraphy as a practical art or literary art or as a pure figurative art. In this context, this study discusses the caligraphy as a pure art by comparing it with the spatial art 'painting' and the temporal art 'music.' It might be impossible to define the caligraphy or a genre of art as an autonomous art of self-perfection and categorical identity. Moreover, any attempt to define the caligraphy would fail to interpret the caligraphy appropriately. Merely, we are obliged to position the caligraphy in the process of localizing 'their modernity' and thereby, discuss how to respond to their scheme.

• (The)Study of the Eastern Classic
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• no.49
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• pp.187-223
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• 2012

This study is planned to research the ways and structue of Okdong's thinking, which are the foundation of his academic world, based on the collection of his literary pieces. This study became interested in Okdong Lee Seo because he with some strong stimulation and shock is considered as the turning point of his family's academic tradition. His family's academic tradition before Okdong had been famous for literatures of its members, such a tradition shifted toward Confucian classical studies. Especially, Okdong was the third elder brother of Seongho Lee Yik who represented the academia of the late Joseon period, and took an important role in forming Seongho's study. Okdong is considered to have built the basic structure of Seongho's study. It seems that in the process he transmitted their family's academic tradition whose focus got shifted from literature to Confucian classical studies. Thus, this study has the basic meaning as elucidation about the fundamental of Okdong's academic world. However, the larger meaning of this study is the verification of the fundamental structure of Seongho's study: Seongho's study stood on Okdong's study but overcame Okdong as an individual, and then became a academic standard of the late Joseon period. When the collection of Okdong's literary pieces is examined, it can be found that Okdong way of thinking rooted in the Confucian theory that human nature is originally good. Especially, Okdong maintained the li-qi dualism in which li and qi conflict against each other. For understanding and elucidating not-completely-good human mind, he understood li and qi within conflicting relationship. Okdong claimed that in order for a man to keep his life humane, the man should recover his moral completeness by cultivating his mind through sincerity and reverence. Okdong's goal was to build society and to realize human nature in accordance with the classical Confucian ideology of filial piety and respect and of loyalty and trust. Here lies the fundamental meaning of Okdong's way of thinking.

• (The)Study of the Eastern Classic
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• no.49
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• pp.357-392
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• 2012

An author is bound to reflect his or her own thinking and inclination in his or her works. The previous studies on Changam(蒼巖), however, mostly discussed the aesthetics in the forms of his introductions and works, hardly addressing his thinking reflected in his works. Recognizing that he had the "reactionism tendency" unlike the Bukhak-School(北學派), which was the cultural mainstream of the days, this study examined the specific patterns of the reactionism calligraphy style in his learning and calligraphy processes and works. He loved to write xing-cao-shu(行草書) with a focus on the materials written in one's own calligraphy, but he also emphasized that one should obtain the force of his or her calligraphy style by mastering kai shu before calligraphy xing cao shu. He thus left a lot of works in the xiao kai(小楷) of the Wang Xzhi(王羲之) calligraphy style throughout his life, which is attributed to the influences of the calligraphers of dong-guk-jin-che(東國眞體) in the latter half of Joseon(朝鮮) and those of Lee Gwang-sa(李匡師), his master in spirit. He is distinguished from the other calligraphers of the times in that he made lifelong efforts to compensate for the lacking stroke of the pen in the model calligraphy of Wang Xzhi. In the calligraphy theory, he put importance on the traditional method of Han-Wei(漢魏) and took Cai Yong(蔡邕) and Zhong Yao(鍾繇) as the fundamentals. For da kai(大楷), he constantly practiced the with the stroke of the pen by added to it, the letters of Wei(魏) Wudi(武帝), by Yan Zhenqing(顔眞卿), and letters of Kim Saeng(金生). His late works using the intended conception of and , in particular, present his unique calligraphy style that added the crooked forms of to the shapes of characters of that were in the kai-shu(楷書) style. It is a limitation that a considerable number of calligraphy materials Changam studied or consulted were either reprint copy or block book rather than original rubbing edition due to time and space restrictions. However, it is also true that those restrictions made an important contribution to his creation of his unique calligraphy style with deep local colors at the result of his constant efforts.

• (The)Study of the Eastern Classic
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• no.54
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• pp.77-102
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• 2014

The study will examine SeongHo Lee Yik(星湖 李瀷)'s thought through his ZhongYongJiShu("中庸疾書"). The book is said that dealing with what was not dealt with in ZhongYongZhanJu("中庸章句") by one's own understanding gained through doubt(懷疑를 통한 自得) is ZhongYongJiShu("中庸疾書"). As with a metaphor of a peach in HouShuo("後說"), SeongHo(星湖) wrote ZhongYongJiShu("中庸疾書") based on his own understanding through skepticism. He divides the chapters of the book using a different method. Chapters 2 to 11 are considered as KongziZhongYong(孔子中庸) that is, quotes of Confucius, and chapters 12 to 30 as explanatory texts that offer explanations of the quotes. Chapter 1 is preface and chapter 33 closing remark. However, a clear explanation is required for the reason why chapter 1 should be preface and chapter 33 should be closing remark. SeongHo(星湖) offers an explanation for the appearance of ZhongYong("中庸") in the title of the book. He indicated that for giving life to the meaning of chapter 1, ZhongHe(中和) should have been used in the place of ZhongYong ("中庸"), but since it was the preface of KongziZhongYong(孔子中庸), Zhong Yong("中庸") was used from KongziZhongYong(孔子中庸). SeongHo(星湖) followed XingJiLi(性卽理) based on the interpretation of chapter 1 and chapter 20. In this way, he followed a Neo-Confucian proposition which is called XingJiLi(性卽理), defining Xing(性). That showed his interpretation was still based on Zhuzi(朱子). According to SeongHo(星湖), ZhongYong("中庸") is mainly on Cheng(誠), and he dealt with Cheng(誠) in ZhongYong("中庸"). Since Cheng(誠) is an important concept in the later part of the book, ZhongYongJiShu("中庸疾書") was focusing on Cheng(誠) for the later part. However, Cheng(誠) was a concept that was not paid much attention than KongziZhongYong(孔子中庸), so it is just a part of explanatory texts, according to SeongHo(星湖).

• Journal of Food Hygiene and Safety
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• v.36 no.3
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• pp.228-238
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• 2021

The aim of this research was to develop a rapid and easy multi-residue method for determining dimethipin, omethoate, dimethipin, chlorfenvinphos and azinphos-methyl in agricultural products (hulled rice, potato, soybean, mandarin and green pepper). Samples were prepared using QuEChERS (Quick, Easy, Cheap, Effective, Rugged and Safe) and analyzed using gas chromatography-tandem mass spectrometry (GC-MS/MS). Residual pesticides were extracted with 1% acetic acid in acetonitrile followed by addition of anhydrous magnesium sulfate (MgSO₄) and anhydrous sodium acetate. The extracts were cleaned up using MgSO₄, primary secondary amine (PSA) and octadecyl (C₁₈). The linearity of the calibration curves, which waas excellent by matrix-matched standards, ranged from 0.005 mg/kg to 0.3 mg/kg and yielded the coefficients of determination (R²) ≥ 0.9934 for all analytes. Average recoveries spiked at three levels (0.01, 0.1, 0.5 mg/kg) and were in the range of 74.2-119.3%, while standard deviation values were less than 14.6%, which is below the Codex guideline (CODEX CAC/GL 40).

• Asia-Pacific Journal of Business Venturing and Entrepreneurship
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• v.16 no.3
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• pp.13-29
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• 2021

The purpose of this study was to analyze the spatial distribution and location factors of startups by generation (young and middle-aged) in Seoul. To this end, a research model was established that included factors of industry, population, and startup institutions by generation in 424 administrative districts using the Seoul Business Enterprise Survey(2018), which includes data on the age group of entrepreneurs. As an analysis method, descriptive statistics were conducted to confirm the frequency, average and standard deviation of startups by generation and major variables in the administrative districts of Seoul, and spatial distribution and characteristics of startups by generation were analyzed through global and local spatial autocorrelation analysis. In particular, the spatial distribution of startups in Seoul was confirmed in-depth by categorizing and analyzing startups by major industries. Afterwards, an appropriate spatial regression analysis model was selected through the Lagrange test, and based on this, the location factors affecting startups by generation were analyzed. The main results derived from the research results are as follows. First, there was a significant difference in the spatial distribution of young and middle-aged startups. The young people started to startups in the belt-shaped area that connects Seocho·Gangnam-Yongsan-Mapo-Gangseo, while middle-aged people were relatively active in the southeastern region represented by Seocho, Gangnam, Songpa, and Gangdong. Second, startups by generation in Seoul showed various spatial distributions according to the type of business. In the knowledge high-tech industries(ICT, professional services) in common, Seocho, Gangnam, Mapo, Guro, and Geumcheon were the centers, and the manufacturing industry was focused on existing clusters. On the other hand, in the case of the life service industry, young people were active in startups near universities and cultural centers, while middle-aged people were concentrated on new towns. Third, there was a difference in factors that influenced the startup location of each generation in Seoul. For young people, high-tech industries, universities, cultural capital, and densely populated areas were significant factors for startup, and for middle-aged people, professional service areas, low average age, and the level of concentration of start-up support institutions had a significant influence on startup. Also, these location factors had different influences for each industry. The implications suggested through the study are as follows. First, it is necessary to support systematic startups considering the characteristics of each region, industry, and generation in Seoul. As there are significant differences in startup regions and industries by generation, it is necessary to strengthen a customized startup support system that takes into account these regional and industrial characteristics. Second, in terms of research methods, a follow-up study is needed that comprehensively considers culture and finance at the large districts(Gu) level through data accumulation.

• Korean Journal of Ecology and Environment
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• v.53 no.4
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• pp.365-373
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• 2020

Biomonitoring Survey and Assessment Manual for lake ecosystem suggest zooplankton collection methods to compare relatively the number of species, population density, and community indices, taking into account the convenience of the field sampling according to the sites' water depth. In this study, the oblique towing and 20 m vertical towing methods presented in the manual were respectively compared with the whole water column-vertical towing and we analyzed the differences and characteristics of zooplankton community information gathered by each collection method. For community indices, there was no difference in the comparison of oblique/vertical towing methods in the shallow lake, but in the deep lake, the diversity and richness indices increased when vertically towing through whole water column rather than when limiting the towing depth to 20 m. In addition, the total zooplankton density collected by the oblique/20 m vertical towing methods was about three times higher than the whole water column-vertical towing method, which means that the density of zooplankton community can be overestimated depending on the collection methods. It appears to be results of differences in the zooplankton density by water layer arising from their vertical distribution and in filtered raw water quantity according to the towing depth/distance. Hence, for zooplankton community information to be used as a functional quantitative indicator representing the entire lake, it would be more appropriate to apply the whole water column-vertical towing method with considering the distribution of zooplankton density by depth and contribution rate of each water layer when converting total zooplankton density.

• Journal of the Korean Society of Marine Environment & Safety
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• v.27 no.1
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• pp.172-178
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• 2021

In the ship repair market, interest in maintenance and repair is steadily increasing due to the reinforcement of prevention of environmental pollution caused by ships and the reinforcement of safety standards for ship structures. By reflecting this effect, the number of requests for repairs by foreign shipping companies increases to repair shipbuilders in the Southwest Sea. However, because most of the repair shipbuilders in the southwestern area are small and medium-sized companies, it is difficult to lead to the integrated synergy effect of the repair shipbuilding companies. Moreover, the infrastructure is not integrated; hence, using the infrastructure jointly is a challenge, which acts as an obstacle to the activation of the repair shipbuilding industry. Floating docks are indispensable to operating the repair shipbuilding business; in addition, most of them are operated through renovation/repair after importing aging caisson docks from overseas. However, their service life is more than 30 years; additionally, there is no structure inspection standard. Therefore, it is vulnerable to the safety field. In this study, the finite element analysis program of ANSYS was used to evaluate the structural safety of the modified caisson dock and obtain additional structural reinforcement schemes to solve the derived problems. For the floating docks, there are classification regulations; however, concerning structural strength, the regulations are insufficient, and the applicability is inferior. These insufficient evaluation areas were supplemented through a detailed structural FE-analysis. The reinforcement plan was decided by reinforcing the pontoon deck and reinforcement of the side tank, considering the characteristics of the repair shipyard condition. The final plan was selected to reinforce the side wing tank through the structural analysis of the decision; in addition, the actual structure was fabricated to reflect the reinforcement plan. Our results can be used as reference data for improving the structural strength of similar facilities; we believe that the optimal solution can be found quickly if this method is used during renovation/repair.

• Journal of the Daesoon Academy of Sciences
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• v.36
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• pp.117-152
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• 2020

In Daesoon Thought, Matteo Ricci is regarded highly as a Jongjang, 'religious leader,' (of Christianity). This paper deals with the life and philosophical/theological thought of Matteo Ricci as homo-religiosus from the perspective of phenomenology of religion. Examining his historical background and biographical sketch, I will analyze Ricci's understanding of God, humanity, and salvation and re-evaluate his relationship with Daesoon Thought. Matteo Ricci, born in Italy, became a Jesuit missionary to China and transmitted various products of western civilization. Accepting the pro-cultural approach of Jesuit mission, he applied it to Chinese culture and language by learning the Chinese language and regarding Chinese people as his friends. This was a sympathetic way to transmit Western religion and culture while on Chinese soil. He suggested eight reasons to look towards the future of China with optimism and taught Chinese people his Christian message through his indirect means of understanding and persuasion. In China, Jesuit missionaries called the Christian God 'Tianzhu (Cheonju in Sino-Korean),' meaning Lord of Heaven. Ricci identified the Confucian notion of 'Shangdi (Sangje in Sino-Korean),' meaning Supreme Emperor (or God) with Tianzhu. While translating Confucian scriptures, he found the common ground between Confucianism and Christianity to be the monotheism of ancient Confucianism. He criticized the concepts of God in Buddhism and Daoism, and justified the Christian doctrine of God by way of a Confucian understanding of deity. Ricci's understanding of humanity was based on his Christian faith in creation, and he criticized the Buddhist concept of transmigration. He proposed Christian ethics and doctrine of salvation by using discourse on the afterlife and in particular, the concepts of heaven and hell. Concerning the relationship between Daesoon Thought and Ricci, the following aspects should be examined: 1.) Ricci's contribution to the cultural exchanges between East and West, 2.) his peaceful approach to his mission based on dialogue and persuasion, 3.) the various activities conducted by Ricci as a Christian leader, and 4.) his belief in miraculous healings. His influence on Korea will likewise be explored. Ricci's ultimate aim was to communicate with Asian people and unify East and West under a singular worldview by emphasizing the similarities between the Christian and Confucian concepts of God.

• Journal of the Daesoon Academy of Sciences
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• v.37
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• pp.191-227
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• 2021

In this study, values of truth and good are expressed in the form of beauty, and truth and good are analyzed from an aesthetic point of view. This enables an assessment of how truth is expressed and presented as an "aesthetic" in Daesoon Thought. Therefore, an approach to faith in Daesoon Jinrihoe (大巡眞理會) can be presented via traditional aesthetics or theological aesthetics that reflect on sense experience, feelings, and beauty. The concept of beauty in Daesoon Thought which focuses on The Canonical Scripture appears in keywords used in Daesoon Thought such as divine nature (神性), the pattern of Dao (道理), the singularly-focused mind (一心), and relationships (關係). Therein, one can find sublimation, symmetry, moderation, and harmony. The aesthetic features of Daesoon Thought, when considered as an aesthetic system can formulate thinking regarding the aesthetics of 'Reordering Works of Heaven and Earth' (天地公事), the aesthetics of Mutual Beneficence (相生), and the aesthetics of healing. The Reordering Works of Heaven and Earth contain a record of the Supreme God visiting the world as a human being. The realization that the human figure, Kang Jeungsan (1871-1909), is the Supreme God, Sangje (上帝), is the shocking aesthetic motif and theological starting point of the Reordering Works of Heaven and Earth. Mutual Beneficence can be seen aesthetically as indicating the sociality of mutual relations, and there is an aesthetic structure of Mutual Beneficence in the harmony and unification of those relations. Healing can be said to contain the sacred sublimation of Sangje, and moderation is a form of beauty that makes humans move toward Quieting the mind and Quieting the body (安心·安身), the Dharma of Presiding over Cures (醫統), and the ultimate value of healing, which is the end point of the Cultivation (修道) wherein one realizes that the ideals of humankind and the aesthetics of healing bestow the spiritual pleasures of a beautiful and valuable life. The aesthetic characteristics of Daesoon Thought demonstrate an aesthetic attitude that leads to healing through Sangje's Holy Works and the practice of Mutual Beneficence (相生) which were performed when He stayed with us to vastly save all beings throughout the Three Realms that teetered on the brink of extinction. It is not uncommon to see a beautiful woman and remark she is like a goddess (女神) or female immortal (仙女). Likewise, beautiful music is often praised as "the sound of heaven." That which fills us with joy is spoken of as "divine beings (神明)" of God. God is a symbol of beauty, and the world of God can be said to be the archetype of beauty. Experience of beauty guides our souls to God. The aesthetic experience of Daesoon Thought is a religious experience that culminates in emotional, intellectual, and spiritual joy, and it is an aesthetic experience that recognizes transcendent beauty.