• Journal of Korean Society of Forest Science
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• v.78 no.2
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• pp.177-188
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• 1989

The habitat typing method of classification based on community has been developed on many forested areas in the ROCKY MOUNTAINS of WESTERN NORTH AMERICA, and is being used in providing an objective principle of guide for classification of forest sites, land classification, vertical distribution and multipurpose management of forest. I actually made a trial of forest habitat type classification - The methodology can be segmented into a number of tasks including reconnaissance, selection of stands to be sampled, location of plots, data gathering, preliminary and computer analysis, preparation of key- and map of habitat type and description for each habitat type in a view of forest management - on UNIVERSITY OF MONTANA FORESTS in order to examine whether its application is fit or not in korean forest circumstances : these are composed mainly of artificial forest and forest in the early stage of succession. The main results obtained from this study were summarized as follows 1. A hierarchical classification-Climax, Habitat type and Phases-of forest sites was developed using the habitat typing method of classification. 2. A diagnostic key is provided for field identification of the types based upon presence and number of indicator species, and forest managers could prepare a map of habitat type and classify forest habirat types by reference to it. 3. The classified habitat types were considered to be effective on providing an objective principle of guide for multipurpose management of forest including potential productivity for timber, feed productivity of forage and wildlife, selection of the right species in the right sites, application of method of treatment and so forth. 4. Forest habitat type classifications based upon extrapolation which used relict species and associated stands is considered to be suitable for korean forest circumstances and objective in studying potential vegetation, vertical and horizontal distribution of forest.

• Journal of Korean Philosophical Society
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• v.130
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• pp.305-335
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• 2014

Counseling is conducted through dialogue in relation to counselor and client. Therefore the philosophical counseling first must consider the circumstances, prescribe the main concepts and proceed to the specific methodology in order to be the practical study. The philosophical counseling includes the six necessary concepts-subjects, time, place, object, method, and purpose-because of its behavioral concepts. The subjects are counsellor and client, the place is where public institutions authorize officially for counseling, the time is when the two parties are meeting face to face, the object is the client's facing problems right now, the method is the philosophical assistance, and the purpose is to dissolve the client's problems. The client's facing problems here are the developmental tasks according to the developmental stages and the maladaptive behaviors related to the cognitive distortions appearing in the process. And the philosophical assistance methods are the types to make the facilitating environment and dispute the wrong thoughts and the irrational beliefs. However, the client's problems in counseling often appear in the causes combined between the cognitive elements and the emotive elements which are treated mainly in the psychological counseling. In that case, the way to solve the problems in the philosophical counseling should be applied to with the psychological methods in parallel or in regular succession. Therefore the six necessary concepts of the philosophical counseling are not the absolute meanings but the meanings in general. If so, the concept of the philosophical counseling can be defined as the process in which counselor and client meet face to face and dissolve the client's facing problems through mainly the philosophical methods with the counselor's assistance. If the main concepts of the philosophical counseling can be prescribed as mentioned above, post study needs to proceed to the specific methodology.

• Journal of Bio-Environment Control
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• v.30 no.4
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• pp.383-392
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• 2021

It has been known that oyster mushrooms cultivated in facilities with thermal insulation have been strongly affected by inner environments. Forced air-circulation fans exert much direct influence on disturbing air inside the facility so the matter is of particular interest. This study is carried out to investigate the measured levels of air uniformity in a cultivation facility for oyster mushroom in the various cases that reversibly controlled air-circulation fans which drove the flow in the upward and reverse direction by turn and unidirectional fans by which the wind blew upwards only were operated from July 1 to 10. The actual survey for the selection of ongoing operation cases presented that farmers, even though there were some discrepancies, have made use of fans in a way that it paused for 5-30min after running for 5-15min by turn. The level of air uniformity in the case of adopting reversible fans revealed a slight difference of 1.4-1.8℃ (Temp.) and 7.8-8.7% (R.H.) under the condition of not using a cooler during the investigation period. By contrast, unidirectional fans showed a noticeable difference of 3.2-3.7℃ and 14.0-15.4%, which meant that air uniformity driven by reversible fans much more increased compared to that for unidirectional fans. Among the twenty operational applications considered for reversible fans, the circumstance that the wind blew upwards for 10-15min and ceased for 5-10min and blew again in the reverse direction for 10-15min in succession gave minor improvements at the level of air uniformity, but at present there was somewhat difficult to make decision on which cases were optimally best. It seems necessary that the effects of reversible fans on air uniformity as well as qualities of oyster mushrooms have to be appraised in the cultivation period and the flow visualization needs to be done to ascertain the performance of air mixture.

• Journal of the Korean earth science society
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• v.42 no.3
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• pp.264-277
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• 2021

This study analyzed the relationship between the total precipitable water vapor in the atmosphere and the moving speed of recent typhoons. This study used ground observation data of air temperature, precipitation, and wind speed from the Korea Meteorological Administration (KMA) as well as total rainfall data and Red-Green-Blue (RGB) composite images from the U.S. Meteorological and Satellite Research Institute and the KMA's Cheollian Satellite 2A (GEO-KOMPSAT-2A). Using the typhoon location and moving speed data provided by the KMA, we compared the moving speeds of typhoon Bavi, Maysak, and Haishen from 2020, typhoon Tapah from 2019, and typhoon Kong-rey from 2018 with the average typhoon speed by latitude. Tapah and Kong-rey moved at average speed with changing latitude, while Bavi and Maysak showed a significant decrease in moving speed between approximately 25°N and 30°N. This is because a water vapor band in the atmosphere in front of these two typhoons induced frontogenesis and prevented their movement. In other words, when the water vapor band generated by the low-level jet causes frontogenesis in front of the moving typhoon, the high pressure area located between the site of frontogenesis and the typhoon develops further, inducing as a blocking effect. Together with the tropical night phenomenon, this slows the typhoon. Bavi and Maysak were accompanied by copious atmospheric water vapor; consequently, a water vapor band along the low-level jet induced frontogenesis. Then, the downdraft of the high pressure between the frontogenesis and the typhoon caused the tropical night phenomenon. Finally, strong winds and heavy rains occurred in succession once the typhoon landed.

• Journal of Korean Philosophical Society
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• no.123
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• pp.137-185
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• 2018

This article aims to deconstruct the mechanism of male domination that constantly reproduces the hegemonic class of men. In order to overcome misogyny, we should no longer deny the ontological dimension of the reality of women's oppressions and the pre-eminence of the material condition of women's existence. In addition, the possibility of the category of women as a modality of resistance should be taken into consideration. First, I will highlight the correlation between penis and phallus according to which the phallus refers to the penis which is malleable and fragile and which disappears without being castrated by the external factor. From here we could deduce the fragility and imperfection, the non-absoluteness of the phallic order. Secondly, I will analyze the mechanism of penis-narcissism, which is the modality of the constitution of the individual identity of man. The penis is not only a physiological organ, but a site of self-estimation and the validity of the succession of power and authority of the father's law. With this penis-narcissism, man is constituted as a hegemonic body that can let itself go without worrying about the reactions of others. Thirdly, I will focus on the mechanism of the penis-cartel which is the modality of the formation of the collective identity. The penis-cartel is reinforced by the mutual affirmation of the superiority of men among themselves, but also by the permission and the tacit agreement of their absurdity and lack of rationality and corruption. Because the privilege of men is not monopolized by a small part of the elite, but is consciously and unconsciously shared by all men who are part of the hegemonic and collective category. In order to deconstruct the penis-narcissism and the penis-cartel, it is necessary to demonstrate that the penis is not a self-sufficient body, nor a closed and impermeable body, but that it is a porous body where the organ serves both ejaculation and urinary ejection. The penis is a porous body that is at once the site of sublimity and degradation, purity and impurity. In addition, the penis is no longer an all-powerful and aggressive organ, but it is a malleable and fluid flesh that constantly changes its shape. Linked to a phallus-organ that is the notion of Jacques-Alain Miller, it is a site of deficiency and vulnerability that is not the axis of the penis-cartel. It is through the notion of the double porosity of the penis and the phenomenology of the flesh of the penis, I try to provide the modality of undoing the reproductive mechanism of predatory masculinity. Because this would be an effective strategy to overcome misogyny.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.172-195
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• 2019

Among the paintings of Goam Lee Ungno (1904-1989), his works of the 1960s in Paris have been evaluated as his most avant-garde works of experimenting with and innovating objects as an artist. At that time, his works, such as Papier Colle and Abstract Letter, were influenced by abstract expressionism and Western Art Informel, illustrating his transformation from a traditional artist into a contemporary artist. An exhibition, which was held prior to his going to Paris in March 1958, has received attention because it exhibited the painting style of his early Informel art. Taking this into consideration, this study was conducted by interpreting his work from two perspectives; first, that his works of 1958 were influenced by abstract expressionism and Art Informel, and, second, that he expressed Xieyi (寫意) as literati painting, focusing on the fact that Lee Ungno first started his career adopting this style. In this paper, I aimed to confirm Lee Ungno's recognition of Art Informel and abstract painting, which can be called abstract expressionism. To achieve this, it was necessary to study Lee's painting theory at that time, so I first considered Hae-gang Kim Gyu-jin whom Lee Ungno began studying painting under, and his paintings during his time in Japan. It was confirmed that in order to escape from stereotypical paintings, deep contemplation of nature while painting was his first important principle. This principle, also known as Xieyi (寫意), lasted until the 1950s. In addition, it is highly probable that he understood the dictionary definition of abstract painting, i.e., the meaning of extracting shapes from nature according to the ideas which became important to him after studying in Japan, rather than the theory of abstract painting realized in Western paintings. Lee Ungno himself also stated that the shape of nature was the basis of abstract painting. In other words, abstractive painting and abstract painting are different concepts and based on this, it is necessary to analyze the paintings of Lee Ungno. Finally, I questioned the view that Lee Ungno's abstract paintings of the 1950s were painted as representative of the Xieyi (寫意) mind of literary art painting. Linking traditional literary art painting theory directly to Lee Ungno, who had been active in other worlds in space and time, may minimize Lee Ungno's individuality and make the distinction between traditional paintings and contemporary paintings obscure. Lee Ungno emphasized Xieyi (寫意) in his paintings; however, this might have been an emphasis signifying a great proposition. This is actually because his works produced in the 1950s, such as Self-Portrait (1956), featured painting styles with boldly distorted forms achieved by strong ink brushwork, a style which Lee Ungno defined as 'North Painting.' This is based on the view that it is necessary to distinguish between Xieyi (寫意) and 'the way of Xieyi (寫意) painting' as an important aspect of literary art painting. Therefore, his paintings need a new interpretation in consideration of the viewpoint that he represented abstract paintings according to his own Xieyi (寫意) way, rather than the view that his paintings were representations of Xieyi (寫意), or rather a succession of traditional paintings in the literary artist's style.

• Korean Journal of Heritage: History & Science
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• v.47 no.4
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• pp.224-243
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• 2014

This study examined the materials and casting technology(cast, alloy, etc.) used in the manufacturing of bronze artifacts based on old literature such as Yongjae Chonghwa, Cheongong Geamul, and The Korea Review. In the casting experiment for restoration of Sangpyong Tongbo, a bronze and brass mother coin mold was made using the sand mold casting method described in The Korea Review. The cast was comprised of the original mold plate frame, wooden frame, and molding sand. Depending on the material of the outer frame, which contains the molding sand, the original mold plate frame can be either a wooden frame or steel frame. For the molding sand, light yellow-colored sand of the Jeonbuk Iri region was used. Next, the composition of the mother alloy used in the restoration of Sangpyong Tongbo was studied. In consideration of the evaporation of tin and lead during actual restoration, the composition of Cu 60%, Zn 30%, and Pb 10% for brass as stated in The Korea Review was modified to Cu 60%, Zn 35%, and Pb 15%. For bronze, based on the composition of Cu 80%, Sn 6%, and Pb 14% used for Haedong Tongbo, the composition was set as Cu 80%, Sn 11%, and Pb 19%. The mother coin mold was restored by first creating a wooden father coin, making a cast from the wooden frame and basic steel frame, alloying, casting, and making a mother coin. Component analysis was conducted on the mother alloy of the restored Sangpyong Tongbo, and its primary and secondary casts. The bronze mother alloy saw a 5% increase in copper and 4% reduction in lead. The brass parent alloy had a 5% increase in copper, but a 4% and 12% decrease in lead and tin respectively. Analysis of the primary and secondary mother coin molds using an energy dispersive spectrometer showed that the bronze mother coin mold had a reduced amount of lead, while the brass mother coin mold had less tin. This can be explained by the evaporation of lead and tin in the melting of the primary mother coin mold. In addition, the ${\alpha}$-phase and lead particles were found in the mother alloy of bronze and brass, as well as the microstructure of the primary and secondary coin molds. Impurities such as Al and Si were observed only in the brass mother coin mold.

• Journal of the Korean Institute of Landscape Architecture
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• v.47 no.3
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• pp.81-92
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• 2019

This study was conducted to establish vegetation structure characteristics and vegetation management plan of the cultural landscape forests located around Unmun Temple in Cheongdo-gun and to provide the basic data needed to manage the cultural landscape forests. The landscape characteristics are analyzed in two perspectives including the landscape as viewed from inside and outside of Unmun Temple and eight landscape views are selected. Main views are Pinus densiflora forest and Abies holophylla forest around Unmun Temple. As a result of the survey of existing vegetation around Cheongdo-gun Unmun Temple, P. densiflora forests and P. densiflora-A. holophylla forests are widely distributed, occupying 79.2% of the forest. The plant community structure was classified into seven types according to the three topographic characteristics, flat forests, slope forests, and lower forests, Which were divided into a total of 30 survey plots and the average relative importance percentage was determined. The P. densiflora community on the flat are dominated by Carpinus tschonoskii in Under-canopy. The P. densiflora-A. holophylla community on the flat had a relatively high rate of domination in the shrubs. There were no competing species for the A. holophylla community on the plat. The large standard P. densiflora and the small standard P. densiflora were expected to be confined by P. serrulata var. pubescens and the Quercus variabilis on the slopes. The managed P. densiflora community had a relatively high rate of P. densiflora domination in the shrubs. The P. densiflora community on the lowland was dominated by Styrax japonicus and P. serrulata var. pubescens. The Shannon species diversity index was 0.2360 to 1.4088. The results of the correlation analysis with P. densiflora, A. holophylla and other species were P. densiflora had negative correlation with Acer mono, Corylus heterophylla var. heterophylla, Zelkova serrata and A. holophylla, and A. holophylla have negative correlation with S. japonicus and P. densiflora. Landscape characteristics and plant community structures are analyzed to propose management methods of maintaining and restoring The P. densiflora and A. holophylla cultural forest landscapes around Unmun Temple.

• Korean Journal of Heritage: History & Science
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• v.46 no.1
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• pp.318-345
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• 2013

This study was carried out with a focus on the factor on the periodical space organization of Daebodan (大報壇: the altar of great recompense) in Changdeok Palace, which is significant in terms of political history in the late Chosun Dynasty, and consider the factors in the formation of the structural system through historical records and drawings. Daebodan has the ideology of righteousness to the Ming Dynasty which the hierarchy of the Joseon Dynasty. who felt the crisis of the domination order, imposed as a solution after the Manchu war of 1636. In addition, Daebodan was built by complex factors that entailed the self-esteem of the 'Joseon Centralism Ideology (朝鮮中華)' and the desire of the sacrificial rituals for Heaven that were imminent to the kings of Joseon. Superficially, Daebodan has the spatial organization of the Sajik (社稷) Altar and the placement of an annex building, but had the applied placement due to limited topography and access to the backyard. Furthermore, the lateral structure of Daebodan multiply accepted various factors of the nine step's stairs, the hight of five cheok (尺), the circumstance of two floors that were showed in the altar and platform with small fences and an imperial order including the internal form of Hwangjangbang (黃帳房). Moreover, the name of the alter came from 'the Jiaote Sheng Book of Rites(禮記 郊特牲)' representing 'the suburban sacrifice ritual for Heaven (郊天)', and it was built by not only combining the system of the Sajik Altar in the Joseon Dynasty and China but also avoiding 'excessive etiquette (僭禮).' The point is a remarkable feature shown by the structural system of Daebodan. Thus, it is considered that the 'Notion of Confucian-Cultural Succession (中華繼承意識)' and the desire of the sacrificial rituals for Heaven were expressed by the structure and form of altar. This study examined the process of the creation, expansion, decline and disposal of Daebodan in a chronological order, and found that the ruling ideology of the governing elite by the political and cultural background of the era at each transitional point was reflected in the spatial formation of the altar. On the other hand, as a result of performing a field survey to find the location in accordance with Daebodan in drawing materials, there remains items such as worked stones from Daebodan, precast pavers and fragments of proof tile discovered in the surrounding of tora vine (Actinidia arguta) which is a natural monument of Changdeok Palace. As such, verification through future excavation and investigation is required.

• Korean Journal of Heritage: History & Science
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• v.41 no.2
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• pp.5-25
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• 2008

Seoul's community beliefs originated from the ritual performed by the shrines affiliated to each government office in the Joseon Dynasty. Lower branches of government officials were assigned to perform these rituals. Generally, these shrines were called Bugundang(府君堂). Records show that Bugundang(府君堂) was generally one to three units and enshrined the portrait of Bugun(府君), the worshipped, inside. According to historical records, the worshipped were mostly General Choi Young(崔瑩將軍) or Madame Song(宋氏夫人). In fact, however, each Bugundang(府君堂) worshipped different persons. Some of the worshipped were historical characters from the Goryeo Dynasty or the founding period of Joseon Dynasty, Guan Yu(關羽) and Zhuge Liang(諸葛孔明) that became gods after the Japanese Invasion of 1952, Wanggun(王建), Dangun(檀君), General Nam Yi(南怡將軍), Kim Yoo Shin(金庾信), Lim Gyeong Up (林慶業), King Gongmin(恭愍王), King Taejo(Lee Sung Gye, 太祖 李成桂), Joban(趙?) who is one of the supporters of the foundation of Joseon Dynasty, Sir Hong(洪氏大監) and his women who appear in the legend of Nanhansanseong(南漢山城) area, and many other historical figures. It is difficult to compare the rituals of these shrines from community Gut(Shaman ritual) performances of Seoul. According to historical records, Gut and ceremony coexisted in rituals. As time passed, these rituals spread as the community Beliefs of commoners and have been transmitted in the context of Seoul's cultural change. This study examined the existence of affiliated shrines of local government offices in the Joseon Dynasty and discussed the cases of Jangchung-dong Gwanseong Shrine(將忠洞 關聖廟), Bangsan-dong Seongje Shrine(方山洞 聖帝廟), and Seobinggo Bugundang(西氷庫 府君堂) to trace the succession of rituals at these shrines as folk customs of commoners. Bangsan-dong Seongje Shrine(方山洞 聖帝廟) spread to the public as Gwanwoo(關羽), who was considered the god of soldiers, transformed into the god of merchants along with historical transition. It clearly shows the process as to how merchants from a certain region developed a community religion. Jangchung-dong Gwanseong Shrine(將忠洞 關聖廟) is Bugundang(府君堂) of the soldiers of Nampyoug(南營). As the ritual was succeeded by a ritual group called Yeoungsinsa(永信社), composed of nearby residents, it was naturally spread and succeeded by the residents in local community. Seobinggo Bugundang(西氷庫 府君堂) was related to the changes in the historical background of ice gathering in the late Joseon Dynasty.