• Archives of design research
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• v.15 no.3
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• pp.15-28
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• 2002

The purpose of this research is to identify the concrete imagery terms that characterize Korean cultural identity and to express Korean feelings and images through those words. We classified the selected imagery terms into the elements of design, the principles of design, abstraction, expression and function. As a result, new aspects of the Korean Image are as follows. 1, It recognized that the colors representing the Korean image are not only achromatic but also splendid. 2. Noble images with common images have taken up a large part of Korean traditional image. 3. Pleasant images as well as sad images should be presented as a new perspective to express Korean cultural identity. 4. Indirect image rather than direct image appears frequently, while positive/active image appears frequently. Since this image accounts for a large portion of Korean present image it cannot be overlooked as Korean traditional Image. 5. Korean traditional architecture is expressed as functional and rational. Up until now, representative imagery terms about Korean cultural identity appear to be positive and active and we know that Korean feelings and images are implying more variety to the image generally recognized at this time. Therefore, if today's various information technology, and values are compared and the continuity and changes of designs are appropriately combined above Korean cultural identity with these results, this will provide an essential direction for the development of global Korean designs.

• The Journal of Art Theory & Practice
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• no.5
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• pp.197-215
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• 2007

Yangbanxi("model plays") symbolize the Cultural Revolution(1966~1976) in China. The Eight Model Revolutionary Works include five Chinese Modern Peking Operas, namely, Taking Tiger Mountain by Strategy(智取威虎山), Harbor(海港), Shaijabang(沙家浜), The Red Lantern(紅燈記), and Raid on the White Tiger Regiment ; (奇襲白虎團), ballets such as The Red Detachment of Women(紅色娘子軍) and The White-Haired Girl(白毛女) ; and a symphony: Shajiabang(沙家浜). On April 24, 1967, Chinese leaders, including Mao Zedong, saw a performance of The White-Haired Girl. Yanbanxi was performed in Beijing between May 24 and June 15 the same year. The Red Lantern was designated as a work for the proletarian classes by Jiang Qing(Mao Zedong's third wife and the most influential woman in China) and spread nationwide. It was also made into a film to be enjoyed by many people. The modern Chinese operas went a long way in their creation of visual images of revolutionary heroes. The Red Lantern, in particular, came to be regarded as the most representative revolutionary opera. In the course of such a process, Jiang Qing used Yangbanxi as a political tool for compelling the people to worship and pledge their allegiance to Mao in an effort to turn the Cultural Revolution into a class struggle on behalf of her husband. During the Cultural Revolution period, artists were made to associate with workers, farmers and soldiers based on the idea of advocating revolutionary arts for the proletarian classes. The characters in The Rend Lantern were portrayed as heroes from the proletarian classes according to the demands of the era. Chinese leaders set forth the principles of artistic expression, stressing three important factors: politics, heroes, and heroic acts, which were to be applied to all the visual arts, including Yangbanxi. This paper attempts to present a new view of fine arts during the Cultural Revolution in China by focusing on the productive significance of a leading style of a specific era in the past. To that end, this paper sheds light on products made in conformance with political instructions, stressing the importance of revolutionary heroes in The Red Lantern.

• The Journal of the Convergence on Culture Technology
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• v.5 no.4
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• pp.79-85
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• 2019

'Experiments in Art and Technology' Group was established in the mid-20th century, and then developed the larger interdisciplinary experiments into the range of art world and its outside field. The motive power of group's activities was the collaboration between artists and engineers traversing the boundary between old different disciplinary conventions. E.A.T was officially launched in 1967 by the engineers Billy $Kl{\ddot{u}}ver$ and Fred Waldhauer and the artists Robert Raushenberg and Robert Whitman. They performed various possibility of material, technology, and engineering available to contemporary art. By reflecting the function of art and technology in society, eventually they developed the methodology of new aesthetics which had organic relationship with contemporary world. In this sense, this research have its academic significance. This paper firstly examined the socio-cultural context of emerging the E.A.T. group as a representative model for convergent practice, and verified the fact that the collaboration between artists and engineers had produced the expansion of artistic expression as well as new relationship among art, engineering, and society by considering E.A.T's various projects. Therefore, I will refer the E.A.T. group as an exemplary model for concrete method of collaboration that contemporary discourses about convergence need.

• Journal of Ginseng Research
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• v.39 no.1
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• pp.61-68
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• 2015

Background: Korean Red Ginseng (KRG) is a representative traditional herbal medicine with many different pharmacological properties including anticancer, anti-atherosclerosis, anti-diabetes, and anti-inflammatory activities. Only a few studies have explored the molecular mechanism of KRG-mediated anti-inflammatory activity. Methods: We investigated the anti-inflammatory mechanisms of the protopanaxadiol saponin fraction (PPD-SF) of KRG using in vitro and in vivo inflammatory models. Results: PPD-SF dose-dependently diminished the release of inflammatory mediators [nitric oxide (NO), tumor necrosis factor-${\alpha}$, and prostaglandin $E_2$], and downregulated the mRNA expression of their corresponding genes (inducible NO synthase, tumor necrosis factor-${\alpha}$, and cyclooxygenase-2), without altering cell viability. The PPD-SF-mediated suppression of these events appeared to be regulated by a blockade of p38, c-Jun N-terminal kinase (JNK), and TANK (TRAF family member-associated NF-kappa-B activator)-binding kinase 1 (TBK1), which are linked to the activation of activating transcription factor 2 (ATF2) and interferon regulatory transcription factor 3 (IRF3). Moreover, this fraction also ameliorated HCl/ethanol/-induced gastritis via suppression of phospho-JNK2 levels. Conclusion: These results strongly suggest that the anti-inflammatory action of PPD-SF could be mediated by a reduction in the activation of p38-, JNK2-, and TANK-binding-kinase-1-linked pathways and their corresponding transcription factors (ATF2 and IRF3).

• Journal of Korea Entertainment Industry Association
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• v.15 no.3
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• pp.65-73
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• 2021

This research analyzes the characteristics of Chinese tragic films with Chinese traditional ethical ideology as the core, analyzes its specific performance in the plot and ending setting of the film , and analyzes the director's tragic narrative strategy of cultural reconciliation in the face of political environment to understand the characteristics of Chinese contemporary tragic films.The film is a Chinese contemporary tragic film with The Great Cultural Revolution as its historical background. This film is a representative film of Chinese contemporary tragic films. The classic plot has played a certain role in the expression of Chinese traditional ethical ideology such as fatalism and optimistic attitude to life. The male lead's thought changes interpret the Chinese-style tragedy characteristics containing Chinese traditional ethical ideology. In the setting of the ending, the film broke through the "happy ending" model of Chinese traditional tragedies, and chose the open ending of "one tragedy to the end", further showing the time feature of Chinese contemporary tragic film. The euphemism and tenderness of the film as a tragic film is not only due to the compromise with the political culture of power, but also the result of the director's in-depth understanding of the aesthetics of Chinese tragedy. Through the use of symbolic signs in the film language, it has formed the implicit characteristics of the film narrative in the tragic aesthetic experience. In this paper, the author conducts text analysis for the film and discusses presentation of Director Yimou Zhang's tragic feelings and using the tragic narrative strategy of cultural reconciliation to show his creative wisdom in pursuing artistic breakthroughs under political pressure.

• Korean Journal of Remote Sensing
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• v.38 no.6_3
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• pp.1761-1775
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• 2022

Due to unpredictable climate change, the frequency of occurrence of water-related disasters and the scale of damage are also continuously increasing. In terms of disaster management, it is essential to identify the damaged area in a wide area and monitor for mid-term and long-term forecasting. In the field of water disasters, research on remote sensing technology using Synthetic Aperture Radar (SAR) satellite images for wide-area monitoring is being actively conducted. Time-series analysis for monitoring requires a complex preprocessing process that collects a large amount of images and considers the noisy radar characteristics, and for this, a considerable amount of time is required. With the recent development of cloud computing technology, many platforms capable of performing spatiotemporal analysis using satellite big data have been proposed. Google Earth Engine (GEE)is a representative platform that provides about 600 satellite data for free and enables semi real time space time analysis based on the analysis preparation data of satellite images. Therefore, in this study, immediate water disaster damage detection and mid to long term time series observation studies were conducted using GEE. Through the Otsu technique, which is mainly used for change detection, changes in river width and flood area due to river flooding were confirmed, centered on the torrential rains that occurred in 2020. In addition, in terms of disaster management, the change trend of the time series waterbody from 2018 to 2022 was confirmed. The short processing time through javascript based coding, and the strength of spatiotemporal analysis and result expression, are expected to enable use in the field of water disasters. In addition, it is expected that the field of application will be expanded through connection with various satellite bigdata in the future.

• Journal of the Society of Cosmetic Scientists of Korea
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• v.48 no.4
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• pp.303-312
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• 2022

In this study, Cyperus rotundus (C. rotundus) was fractionated into ethyl acetate to identify α-cyperone, a representative indicator, and its ethyl acetate fraction were evaluated to confirm the possibilityas a functional cosmetic ingredient. As a result of HPLC analysis, it was confirmed that the content of α-cyperone was 5.243%. In order to verify the inflammatory relief effect of the ethyl acetate fraction from C. rotundus (EAFC) and α-cyperone, it was confirmed that nitric oxide (NO) production inhibitory ability in RAW 264.7 macrophages induced an inflammatory reaction with lipopolysaccharide (LPS). Real-time qPCR analysis confirmed inhibition of mRNA expression level of inflammatory factors, IL-1β, IL-6, TNF-α, COX-2 and iNOS. As a results of conducting a clinical study using a simple cosmetic formulation containing EAFC, it was confirmed that the skin irritation stimulated by sodium lauryl sulfate (SLS) was calming and relieving itching. Through these results, it is believed that the C. rotundus can be used as a natural cosmetic ingredient that has the effect of inhibiting inflammation and relieving itching.

• Journal of Korea Entertainment Industry Association
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• v.15 no.7
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• pp.33-43
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• 2021

The purpose of this study is to examine the transformation and characteristics of the Verse-Chorus form. The musical form of a musical song is a structural mechanism for expression to effectively convey the dramatic situation of the characters to the audience. This study identified four types of representative forms that can be used to explore the transformation with the verse-chorus form and examined their characteristics. First is the Verse-Chorus form which repeats the description of simple situations and characters in the early stage of the musical. Second is the Verse-Bridge-Verse form which is used to evoke the atmosphere and escape boredom through a slight transformation of the bridge while explaining a simple character. Third is the Verse-Prechorus-Chorus form, which sits just before the chorus, connects the verse and the chorus, and promotes the emotional rise of the characters by smoothing the drama and the harmonic progression. Lastly, this study examined the expanded Verse-BG dialogue-Chorus form used to represent the situation in which conflicts about the complex feelings of the characters and the decisions about them coexist. As such, musical songs use various types of verse-chorus forms. Through the formality and transformation of the verse-chorus, the logic of the music and the logic of the drama are balanced so that the development of the music and the drama does not enter the state of imbalance. Based on this study, further progressive research can take place on the correlation between musical form and dramatic structure, beyond the transformation of musical song form.

• The Journal of Korean Philosophical History
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• no.27
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• pp.63-84
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• 2009

I analyzed about the Ruyi(儒醫)'s mind on this article. Ruyi led and Nei-Jing (內經)'s Xin(心)-Shen(神)-Qingzhi(情志) it developed a medical theory. Qingzhi comes true confucianism aims became the good tool. Junhuo(君火)-Xianghuo(相火) for them to apply medically. Junhuo-Xianghuo is a possibility of seeking a ground from Nei-Jing. Junhuo governs all body and Xianghuo takes charge of the role which raises the body. It is to divide huo(火)with relationship of the king and the liege man. After Yuan-dynasty(元代) Ruyi medical sciences grasped Junhuo-Xianghuo with confucianism structures. The representative scholar is Zhu zhen-heng(朱震亨). I analyzed Zhu's Junhuo-Xianghuo. Xin-huo rules over the body. For expression of active Chi, it set the dual structure-'Junhuo-Xianghuo'. And it divided Junhuo from desire and sentiment. And Zhu zhen-heng attempted Taoism and medical science and Confucianism from the process under integrating. And analyzed Junhuo-Xianghuo Confucianism meaning. With Junhuo-Xianghuo and Confucianism described a relationship in the Zhu zhen-heng's theory. Finally view of Ruyi, medical science is the method of confucianism aims comes true.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.135-158
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• 2019

The purpose of this paper is to elucidate the characteristics that make Guillermo del Toro's film Pan's Labyrinth (2006) a fantasy film, and the meaning and function of the labyrinth motifs closely related to it. Tzvetan Todorov defined the 'fantastic' as the hesitation between natural and supernatural interpretations in the face of supernatural events that invade reality. In Pan's Labyrinth, the fantastic continues to be seen, because the film does not allow the hesitation to disappear; thus, the fantastic does not enter the 'uncanny' genre or 'marvelous' genre, and because it keeps its fantastic state. In this case, the labyrinth symbolizes art as a passage into the fantastic world and a space that represents it. Rosemary Jackson saw the fantasy as a "literature of desire to compensate for a lack resulting from cultural constraints" and thus repeatedly dealing with unconscious materials. Del Toro's film shows the character of the fantastic as an expression of desire by allowing 'family romance' to take place in the fantastic world. In this case, the labyrinth symbolizes the mind as a place of desire. Kathryn Hume defined fantasy as a reaction to reality, like mimesis, and 'departure from consensus reality.' The film, operating in a 'vision' genre, satisfies its definition by allowing the fantastic world to illuminate the reality world through 'contrastive' technique, and brings out the fantastic it has. In this case, the labyrinth symbolizes the world as a mirror of the world of reality. Thus, Pan's Labyrinth is representative of fantastic film in that the fantastic functions very effectively, and the labyrinth appearing in this film can be evaluated as a motif that is full of meaning by symbolizing all three elements of art, world and mind. The significance of this paper is to shed light on how a motif works in a particular genre through the above considerations.