• Korean Journal of Heritage: History & Science
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• v.46 no.2
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• pp.46-69
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• 2013

The results of study on the meaning landscape and environmental design techniques of the Byulup, Yoohoedang garden(Hageowon) based on the story in the collection of Kwon Yi-jin (Yoohoedangjip, 有懷堂集), are as below. First, Yoohoedang Kwon Yi-jin (有懷堂 權以鎭 : 1668~1734) constructed a Byulup garden consisting of ancestor grave, Byulup, garden, and a school, through 3 steps for 20 years in the back hill area of Moosoo-dong village, south of Mountain Bomun in Daejeon. In other words, he built the Byulup(別業, Yoohoedang) by placing his father's grave in the back hill of the village, and then constructed Yoegeongam(餘慶菴) and Geoupjae(居業齋) for protection of the pond(Napoji, 納汚池), garden(Banhwanwon, 盤桓園), and ancestor graves, and descendants' studying in the middle stage. He built an extension in Yoohoedang and finally completed the large-size garden (Hageowon) by extending the east area. Second, in terms of geomancy sense, Yoohoedang Byulup located in Moosoo-dong village area is the representative example including all space elements such as main living house (the head family house of Andong Kwon family), Byulup (Yoohoedang), ancestor graves, Hagoewon (garden) and Yoegeongam (cemetery management and school) which byulup type Byulseo should be equipped with. Thirdly, there are various meaning landscape elements combining the value system of Confucianism, Buddhism and Taoism value, including; (1) remembering parents, (2) harmonious family, (3) integrity, (4) virtue, (5) noble personality, (6) good luck, (7) hermit life, (8) family prosperity and learning development, (9) grace from ancestors, (10) fairyland, (11) guarding ancestor graves, and (12) living ever-young. Fourth, after he arranged ancestor graveyard in the back of the village, he used surrounding natural landscapes to construct Hagoewon garden with water garden consisting of 4 mountain streams and 3 ponds for 13 years, and finally completed a beautiful fairyland with 5 platforms, 3 bamboo forests, as well as the Seokgasan(石假山, artificial hill). Fifth, he adopted landscape plantation (28 kinds; pine, maple, royal azalea, azalea, persimmon tree, bamboo, willow, pomegranate tree, rose, chinensis, chaenomeles speciosa, Japanese azalea, peach tree, lotus, chrysanthemum, peony, and Paeonia suffruticosa, etc.) to apply romance from poetic affection, symbol and ideal from personification, as well as plantation plan considering seasonal landscapes. Landscape rocks were used by intact use of natural rocks, connecting with water elements, garden ornament method using Seokyeonji and flower steps, and mountain Seokga method showing the essence of landscape meanings. In addition, waterscape are characterized by active use of water considering natural streams and physio-graphic condition (eastern valley), ecological corridor role that rhythmically connects each space of the garden and waterways following routes, landscape meaning introduction connecting 'gaining knowledge by the study of things' values including Hwalsoodam(活水潭, pond), Mongjeong(蒙井, spring), Hosoo(濠水, stream), and Boksoo(?水, stream), and sensuous experience space construction with auditory and visualization using properties of landscape matters.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.4
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• pp.1-13
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• 2011

The purpose of this study is to consider practical examples of the method of utilizing plant material 'lotus' used by the ancients, and the value and meaning they wanted to get from it. The method of this study to do this is descriptive study to consider and interpret poem and painting reflecting impression and concept world of lotus. Summary of this study is as follows. First, ornamental value of lotus could be divided in effect of group plant and detail value held by the flower, the leaves and the stem. Especially, group plant lotus in large site provides unique landscape differentiated form other flowering plants. As well, another feature of lotus is its high ornamental value spread in detail elements including the flower, the leaves, the stem and the lotus seed. Second, fragrance expressed 'Hyang-won-ik-cheong(香遠益淸)' is an important charm of lotus. Lotus was utilized as olfactory element providing fragrance. The ancients considered lotus fragrance not only for enjoy but as symbolic object comparing noble man's dignity so that they expressed it in poem and painting. Third, lotus was utilized as acoustical element. That is, the sound of raindrops harmonizing the surface of water and wide lotus leaves was called 'hearing lotus fond and rain', enjoying it as classic grace. Fourth, summer play lotus sightseeing was called mind wash up meaning 'washing the mind polluted by the mundane world'. Such poetic taste was widely enjoyed by various classes from general public to royal family. Besides, poetic taste related with lotus is the method of drinking alcohol using the feature of big lotus leave and vacant stem, called 'Beog-tong-ju(碧筒酒)'. And in the Joseon dynasty period, when the distinction between the man and the woman influenced by Confucian, lotus seed and 'lotus collecting song' was important sign to express romance between man and woman. Lotus has been enamored by wide classes transcending cultural background as thought and religion since ancient times. Due to such reasons, various symbolic meaning of lotus and planting examples related to religious facilities as temples could not be considered in various manner is limitation of this study, and which is research project for the future.

• (The)Study of the Eastern Classic
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• no.49
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• pp.225-260
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• 2012

The poetry of Haseo Jo Gyeong is first characterized by its fantasy content with mysterious and strange beings such as mountain wizards, gods of flowers, ghosts, Jujos and dragons. Such works imply the huge gap between his political ideal of Neo-Confucianism and the reality of society and are expressions of his resulting sorrow. Of course, he did not just look at reality pessimistically. Like other Neo-Confucianism scholars, he used the symbol of "spring" in his poems, which indicates that he did have optimistic belief in the world in spite of despair. In his poems, the symbol of "spring" implies the political world where the noble man grabbed the power and the sinister groups were extracted or the world where the political ethics of Neo-Confucianism was implemented. His works depicting the essence of natural objects, mountains, and rivers exhibit the characteristics of his poetry more clearly. He described the law of the universe behind natural objects and the vibrant aspects of natural objects by depicting their movements in a clear and sharp manner. Unlike the old Neo-Confucianism scholars that often created poems on the topic of acquirement of natural law and nature, he expanded his poetic world in a direction of revealing the secrets of objects. His works describing the spirit of mountains and rivers are especially noteworthy in that they implied a life attitude of moving forward in an deteriorating world bravely by manifesting strong and dynamic power. Paying attention to the secrets of natural objects, Haseo displayed his life ideal in richer ways by painting the new forms of ume flowers. Unlike the old ume flowers poems in the past, his ume flowers poems present ume flowers as ascetics that obtained truth, men of virtue that inspired contemporary people, or retired gentlemen that revealed the profound secrets of nature. While it is unique that he manifested the forms of ume flowers in ascetics and men of virtue while perceiving the dark reality of society, it is more noteworthy that he described ume flowers as the beings revealing the profound secrets of nature. It was the expression of his yearning for an innocent personality and his fear for losing the personality, clearly depicting a human form of his ego. He created a more human and realistic personality ideal by embracing the contemporary thinking based on the profound secrets of nature in his Dohak poetry[道學詩], which is a significant achievement in that it showed new changes to Dohak poetry in the 18th century.

• (The)Study of the Eastern Classic
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• no.59
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• pp.93-120
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• 2015

The purpose of this study is to explore the source of appealing which Gusadang Kim Nakhaeng's writing for ancestral rites is equipped with. Gusadang was one of the Confucianists in Yeongnam during the 18th century and was praised for his scholarly virtue of jihaenghapil and silcheongunghaeng. Although Gusadang's writing for ancestral rites and his teacher Milam Lee Jaeui's letters were even specially named as 'gujemilchal', there has been almost no research on Gusadang's writing for ancestral rites yet. Therefore, this study selects three pieces of Gusadang's writing for ancestral rites which are especially rich in emotional expression for discussion. Chapter 2 titled as 'the Reconstruction of Memory in a Microscopic Perspective' presents the reason why Gusadang's writing for ancestral rites is recognized even as a piece of work equipped with appealing. Writing for ancestral rites begins from the point that there exists memory that can be shared by both the living and the dead. In reconstructing the anecdote with the dead on the stage of ritual writing in detail, the writer's memory plays an important role. Chapter 3 titled as 'the Rhetorical Reconstruction of Elevated Sensitivity' examines rhetorical devices needed for writing for ancestral rites. Proper rhetoric is needed to upgrade the dignity of the ritual writing and arouse sympathy from the readers. Although writing for ancestral rites is supposed to express sadness in terms of its formal characteristics, it should not end up being a mere outlet of emotion. Chapter 4 looks into 'the Descriptive Reconstruction of Lamenting Sentiment'. There should be a clear focus of description to make the gesture of the living towards the being not existing in the world any longer an appealing story. While maintaining a distinct way of description, Gusadang organizes the noble character of the dead, pitiable death, the precious bond in the past, and the longing of those left for the dead systematically. Writing for ancestral rites is a field to mourn over the death and reproduce the sadness of the living through writing. To make the text written in that way get to work as ritual writing properly, it should be appealing necessarily. This study has found the fact that such appealing that gives life to ritual writing is grounded on authenticity.

• (The)Study of the Eastern Classic
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• no.35
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• pp.35-73
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• 2009

This thesis aims at making clear correlation between the controversy that the nature of people and things is equal or different each other and Sung Confucianism, which is closed and discriminative. For this aim, I am looking closely at philosophy-reason prose that deals with the nature of people and things, from the early days of Chosun when Sung Confucianism became a new trend of thought to the later days when the controversy that the nature of people and things is equal or different had begun in earnest. This philosophy-reason prose has had gradual and important change. There are four different view points toward the nature of people and things. According to the first view point, people are the nucleus of the world. For the second one, things are thought to be important enough to be valued, but people are still the only core of the world. The third view point is that people and things are equally important and they are all the core of the world. Finally, the fourth view point regards people inferior to things and it says that things need to instruct people by scolding their bad behavior. There is a correlation between the view point of the nature of people and things and the attitude of an author. If some scholars think that people are the most important nucleus of the world, they tend to consider Sung Confucianism as the only school. On the contrary, other scholars who think that people and things are equal tend to respect other schools with open mind. In conclusion, the heated debates of the 18th century was an acute pain to destroy the closed and discriminative character of Sung Confucianism. It has contributed to innovate the thought toward the nature of people and things and the reformism of practical science have also done important role in the process of modernism's being groped by itself.

• Journal of the Daesoon Academy of Sciences
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• v.40
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• pp.243-272
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• 2022

Jeongeup, Jeollabuk-do, is an area that requires attention from those who study the history of Korean thought. In addition, Jeongeup is an area wherein many works were recorded for the first time in literary history. This is the case with Jeongeupsa as a style of Baekje songs and the lyrics of the noble families of the Joseon Dynasty, Sangchungok. Jeongeup is likewise the location where Choi Chi-won (857~?) was selected to serve as a local taesu (viceroy) and where a unique tradition of music and style were passed down. In this paper, the relationship between Choi Chi-won's role in the process of establishing a silent Confucian academy in Jeongeup and the emergence of scholar culture was examined. When Choi Chi-won left after his term in office, a birth shrine called Taesansa Temple was built to repay the selection of the villagers, and it became the source that led to the opening of the Confucian academy Museongseowon in the future. Jeongeup will be shown to be the location where Choi Chi-won realized his aspirations and honed his capabilities. In particular, Choi Chi-won's played a crucial role in the mid-Joseon Dynasty by supporting the construction and securing the name of Museongseowon. That is why Choi Chi-won was able to be revived as a symbolic figure in the region. In addition, it can be seen that the shape of Choi Chi-won was more sedentary- in the form of a Confucian scholar- and Confucian scholars emphasized the transfer of portraits at Museongseowon. Through the poetry written by Choi Chi-won, readers can learn about the worries and perceptions of scholars during those times. Although his value in the field of poetry is diverse, he can especially be recognized as a Confucian intellectual. In a large number of his works, he expresses his anxiety, agony, and critical inner consciousness all of which came from his encounter with the realities of his time. In fact, Choi Chi-won showed his qualities as a prominent literary figure of his time who had extraordinary aspirations and an admirable work ethic. However, he failed to overcome his regional and mental alienation as a poet in neighboring countries. Therefore, he internalized a sort of fierceness in terms of his perception of the world. However, it seems that it was rather a factor that made his work exhibit a strong lyrical style. In addition, Choi Chi-won's collection of writings includes a number of works that strongly criticized various forms of pathological phenomena caused by terminal phenomena of the time. He also highlighted the wrong in society by realistically depicting the lives poor and needy people and their eventual sacrifice via distorted relationships. This can be read encapsulating the agony of intellectuals of that time. The dictionary definition of a 'Confucian scholar' is "a Confucian term referring to a person or class that embodies Confucian ideology," and in its contemporary meaning it suggests " ⋯ an example of a personality, but not an identity, and the conscience of one's time period as a source of human morality inwardly and social order outwardly." In this respect, it could even be said that Choi Chi-won could be considered the originator of scholar culture.

• Journal of Popular Narrative
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• v.26 no.4
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• pp.9-41
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• 2020

Park Jong-won's debut film "Guro Arirang," based on a short story of the same title by Lee Moon-yeol, is the first commercial film to deal with labor struggles from a worker's point of view in the wake of the 1987 democratic movement, and a pioneering work in terms of representing female workers the Korean cinema has traditionally turned away from. In this film Park Jong-won tried to win the sympathy of the middle class for labor movement in spite of the red scare which still stood firm in the Korean society at that time. To convey its progressive message in a form acceptable to the middle class public, the film portrays labor issues in the light of universal humanity and ethics, not in terms of class hostility or struggle. Park Jong-won calls this point of view "common sense of normal people" and emphasizes its universality and objectivity. This study critically examines the cinematic strategies to deal with labor issues in a form acceptable to the public in a conventional and commercial film and the ideological implications of the "common sense of normal people" reflected in such strategies. The first chapter of the study reveals that the film destroys the irony of the original story and reduces the complex constellation of the characters to the conflict between pure good and evil, creating a melodramatic composition in which the good falls victim to evil. The tragedies suffered by the workers in the film are of course intended to arouse the audience's strong sympathy and solidarity with them. The second chapter shows that the film's various scenes and episodes converge on the them of compassion and grief, and are mostly based on cultural and real experiences and events that caused great public sensations at that time. Especially in the last decisive scene of the movie, the memory of the June 1987 uprising is strongly recalled. So "Guro Arirang" can be seen as a patchwork of proven cases of compassion and grief. The third chapter examines the implications of the scene where the workers turn back demands for wages and put the issues of human treatment and trust to the forefront at the crucial moment of their struggle. It appeals to universal moral values and sentiments that everyone has to acknowledge and removes the political dimension from the workers' campaign. While the film tends to become a pure story of humanity marginalizing irreconcilable conflicts of class interest, the workers fall to the position of passive victims who can be deeply sympathetic on the one hand, and on the other, are idealized as leaders with noble attitude keeping themselves aloof from the hard reality. As a result, the movie loses its realistic ground and weakens its narrative probability. The scenes reminiscent of the 1987 uprising which evoke the solidarity between working and middle class fail to integrate harmoniously into the whole story of the film and remain only as fragmentary parts of the patchwork of compassion and grief.

• Clean Technology
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• v.29 no.2
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• pp.126-134
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• 2023

Direct catalytic decomposition is a promising method for controlling the emission of nitrous oxide (N₂O) from the semiconductor and display industries. In this study, a γ-Al₂O₃ catalyst was developed to reduce N₂O emissions by a catalytic decomposition reaction. The γ-Al₂O₃ catalyst was prepared by an extrusion method using boehmite powder, and a N₂O decomposition test was performed using a catalyst reactor that was approximately 25.4 mm (1 in) in diameter packed with approximately 5 mm of catalysts. The N₂O decomposition tests were carried out with approximately 1% N₂O at 550 to 750 ℃, an ambient pressure, and a GHSV=1800-2000 h^-1. To confirm the N₂O decomposition properties and the effect of O₂ and steam on the N₂O decomposition, nitrogen, air, and air and steam were used as atmospheric gases. The catalytic decomposition tests showed that the 1% N₂O had almost completely disappeared at 700 ℃ in an N₂ atmosphere. However, air and steam decreased the conversion rate drastically. The long term stability test carried out under an N₂ atmosphere at 700 ℃ for 350 h showed that the N₂O conversion rate remained very stable, confirming no catalytic activity changes. From the results of the N₂O decomposition tests and long-term stability test, it is expected that the prepared γ-Al₂O₃ catalyst can be used to reduce N₂O emissions from several industries including the semiconductor, display, and nitric acid manufacturing industry.

• Cartoon and Animation Studies
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• s.37
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• pp.361-392
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• 2014

Regarding works that express objects realistically in painting, Gustave Courbet advocated realism in the mid-19th century, France, resisting the then academist style of painting, and works in realist style were produced in earnest by painters such as H. Daumier or Jean F. Millet, who went along with him. Later, realism has expanded into the realm of general literature, including fine art, which has had profound impacts on works of art and literary works. In comics, too, in the same historical context as a form of painting, realistic comics began to be produced by painters or cartoonists at the time. These realism comics are those dealing with stories based on facts, and in terms of contents, objective description and representation of the social realities of the times is one of the most important objectives, but it could not be concluded that in their visual aspect, that is, that of expressing the objects, they were realistic. In the meantime, a graphic novel was born, which was the intermediate form between comics and novels around the United States and Europe since the 1980s. Graphic novels appeared in forms and styles with strong literary and artistic values in the comics market in the U.S. which was full of the superhero genre (comics around heroes), and their major characteristics are very realistic expressions in terms of contents and visual aspect. They are complex and delicate and even have artistic, literary values as if readers read a fiction or literary work of which its narrative structures or pictures are produced with graphics. The characteristics of realistic expressions shown in graphic novels are very different from the previous works of comics. It is noteworthy that they began to be acknowledged as works of art like painting or illustration, thanks to their features of strongly individual auteurist painting style, a fairly high degree of completion of the works, and creative and experimental expression techniques or methods, instead of following the fashion of the times. In recent years, in South Korea, Hollywood blockbuster films have been released one after another and become box office hits, there are increasing interest and demand for the original graphic novels. Accordingly, many original graphic novels have been translated and started to be sold, and keeping pace with this global flow of fashion, some writers in Korea began to produce works of graphic novels. However, to look into the domestic works produced claiming to be graphic novels, there are various opinions on their format and authenticity. In this sense, this study focused on Ga-ya Kwon's Namhansanseong, one the representative works of Korean style graphic novels, and in particular, it attempted to analyze their characteristics and commonalities focusing on the visual aspect of realistic expressions of objects. It is expected that there would be an opportunity to seek for ways so that Korean style graphic novel can be further developed as a genre of comics, with competitiveness by looking back on the identity and present state of domestic graphic novels and developing and applying Korea's original subject matters differentiated from those of graphic novels in the U.S., Europe or Japan through this study. In addition, it is desired that they will be a new energizer for the stagnant domestic comics market.

• Journal of the Korean Society of Costume
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• v.1
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• pp.119-129
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• 1977

It is significant for developing the future for us to know our present age. In order to preserve our Korean costume as a fola clothes retaining our distinguished independent characterisitics and to help design the tomorrow of our Korean costume playing a role as a racial to develop the world clothing culture, a survey was conducted to investigate modern people's conscious-ness and wearing practumes of Korean costume by questionaire and interviewing methods. The results of the survey were analyzed as follows: (1) At present, Korean costumes were purchased as customtailored(64.0%) and as ready-made(17.8%) and most of them were not made at individual homes. The laundry and ironing of them were carried out at laundry shops(68.8%). Considering our present economic, social and cultural aspects, sowing, laundryand ironing will not be carried out at homes again in the future and ready made costumes seen to be produced in a large scale in the future. Garment makers and laundry shop operators should be trained how to make our Korean costumes retain our traditional beauty in the course of their production and laundry and the makers of ready-made costumes must make research how to efficiently produce ideal ready-made costumes by adopting the synchro system in their wrk odisivion. (2) The age group wearing Korean costumes most frequently was the aged people over 60 (their wearing rate; 45%-50%) and the group wearing them most frequently next io the aged people over 60, was housewives(their wearing rate; 15%-20%). Excludign aged people and housewives, other respondentsdid not wear Korean costumes very frequently. Men's wearing rate was lower their wearing rate was the younger their ages were and the less their monthly incomes were. Korean costumes were used for holiday and festival(60%), wedding and funeral ceremonies (52%), visiting and working(22%), casual wear(12.8%) and home wear(9.2%). The use of Korean costumes as casual and home wears, was lower than the use for holday, festival, visiting and working, Under our present circumstances in which our Korean people use both Western style clothes and Korean costumer, our Korean costume has lostits position as a basic and necessary requiement in Korean people's daily life and become a ceremonical and fancy costume. It is natural that the times and life change everything in our daily life. Our costume has to be made as good ceremonial and fancy clothes satisfying modern sensibility according to its new role. In order for us to get close with our clothes, a keen study must be carried out to cleat the color, material, style, function and harmony of the Korean costume matching the of the times. (3) The 47.8% of the respondents answered that they were proud of our Korean costume as our folk clothes, 47.6% replied that thought them just common and 1.1% responded that they were ashamed of it. Most of them were affirmative in feeling pride with our Korean costume. (4) Considering the functional aspect of Korean costumes, their strong points were symetric beauty, rhythmical beauty, unity feeling, harmonical beauty and detailed decorations. Their common shortcomings were lack of individuality and inadequateness for active life. The shortcomings of woman costumes were suppressing breast, making resperation difficult and in adequnteness in summer time. The main reason not to wear our Korean costumes, was due to the fact that they are incomvenient for active life. As a measure to eliminate such shortcomings, 1) the suspension system of skirt to remove the suppression of breast should be generally adopted. 2) they should be simplified in their structure to make them convenient for active life and adepuate in wearing them in hot weather in an extent to which the traditional beauty of the costume may not be lostand 3) a new technique must be explored for showing individuality by wearing method and new arrangment of colors and decorations. (5) The reasons desiring to wear Korean costumes were classifide as follows: A. Korean costumes are our traditional clothes(43.4%). B. Korean costumes are noble and beautiful(26.8%). C. They are accustomed to wear Korean costumes by habit(19.5%). D. Korean costumes are necessary for attending ceremoneis(9.5%). E. Miscellaneous reasons(0.8%). Classifying these reasons into age groups, the high age group over 40 wore them because they were easy to wear by habit and the low age group of 10-30 never thought that they were east to wear by habit. Considering that even those who were accustomed to wear Korean costumes showed a low wearing rate and that the young generation were accustomed to wear Western style clothes rather than Korean costumes, the wearing rate of Korean costumes will be reduced in the future if such trend continues. It is urgent for us to make our best efforts in order to enhance the interest of young generation in Korean costumes and not to make them lose the strong points of Korean costume in the future. (6) Conicering the plan of the respondents on what kind of clothes they were going to wear in the future, among the age group over 50, those who wanted to wear only Korean costumes were 24.8%(men) and 35.1%(women), those who wanted to wear 49.7%(men) and 47.4(women), those who wanted to wear chiefly Western style clothes were 20.7% (men) and 14.4%(women) and those who wanted to wear only Western style clothes, were 2.4% (men) and 2.1%(women). This shows that the general tendency to wear only or chiefly Korean costumes is more prevalent than that to wear only Western style. Among the age group under 50, the tendency to wear Western style clothes was conspicuous and most of the respondent answered that they would wear chiefly Western style clothes and Korean costumes occasionally. Only 5.4% of the respondent answered that they would wear only Western style clothes and this shows that meny respondents still wonted to wear Korean costumes. Those who wanted their descendants to wear what they desire, were 50.1%(men) and 68.8% (women) and those who wanted their descendants to wear Koran costumes occasionally, were 85.8%(men) and 86.3%(women). This shows that most of respondents wanted their descendants to wear Korean costumes. In order to realize, it is necessory for us to make ourdescendants recognize the preciousness of our traditional culture and modify our Korean costumes according to their taste so that they may like wearing them.