• Journal of the Korean Data and Information Science Society
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• v.28 no.4
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• pp.783-796
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• 2017

In the theory of probability, a Bernoulli trial is a random experiment with exactly two possible outcomes, "success" and "failure", in which the probability of success is the same every time the experiment is conducted. In the successive games of scissors paper stone there exists the case of draw in each game. In this paper we are interested in the ultimate success probability of each participant and the expected number of the game till any one of the two has the ultimate victory. Using our results, we can calculate the ultimate winning probability of each player of the two players and the expected number of the game till any one of the two has the ultimate victory in any case whether there is draw or not in each game.

• Cross-Cultural Studies
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• v.19
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• pp.251-270
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• 2010

The subject of the paper is to discern the validity of the translation theory put forward by the ESIT(Ecole Sup?rieur d'Interpr?tes et de Tranducteurs, Universit? Paris III) and how it differentiates from the other translation theories. First, the paper will analyze the theoretical aspects put forward by examining the equivalence that may be discerned between the french and korean translation in relation to the original english text that is being translated. Employing the equivalence in translation may shed new insights into the unterminable discussions we witness today between the literal translation and the free translation. Contrary to the formal equivalence the dynamic equivalence by Nida suggests that the messages retain the same meanings whether it be the original or a translated text to the/for the reader. In short, the object of the dynamic equivalence is to identify the closest equivalence to the suggested source language. The concept of correspondence and equivalence defined by theoriticians of translation falls to the domain of dynamic equivalence suggested by Nida. In translation theory the domain of usage of language and the that of discourse is denoted separately. by usage one denotes the translation through symbols that make up language itself. In contrast to this, the discourse is suggestive of defining the newly created expressions which may be denoted as being a creative equivalence which embodies the original message for the singular situation at hand. The translator will however find oneself incorporating the two opposing theories in translating. Translation falls under the criteria of text and not of language, thus one cannot regulate or foresee any special circumstances that may arise in translation of discourse, the translation to reflect this condition should always be delimited. All other translation should be subject to translation by equivalence. The interpretation theory in translation (of ESIT) in effect is relative to both the empirical and philosophical approach and is suggestive of new perspective in translation. In conclusion, the above suggested translation theory is different from the skopos theory and the polysystem theory in that it only takes in to account the elements that are in close relation to the original text, and also that it was developed for educational purposes opening new perspectives in the domain of translation theories.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.200-225
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• 2020

This paper, based on "Minhwa Chaekgeori" paintings from the collection of the National Museum of Korea, identifies and discusses fourteen similar works in domestic and international collections as products of the Seokdang workshop. First, the relevant paintings are identified as products of the workshop known as Seokdang (石堂, literally "stone hall") by the workshop's seal that is stamped on them. Second, analysis of the iconography indicates that the paintings were likely produced in the 1920s. Third, research on certain geographic names and addresses associated with this group of paintings suggests that they might not have been separately commissioned, but are rather examples of partially "ready-made" paintings. Fourth, the paper discusses how the designs of various cultural products in these paintings reflects contemporaneous changes in Korea's diplomatic and commercial relations, i.e., the decline of relations with China and rise of relations with the United States and Europe. Finally, a comparison of the Seokdang chaekgeori paintings with the popular chaekgeori paintings produced by Yi Hyeongrok and Yi Deokyeong in the early twentieth century provides important implications for the succession of tradition and innovation in visual culture.

• Journal of Korean Society of Archives and Records Management
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• v.3 no.1
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• pp.1-21
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• 2003

In this paper the characteristics of the script centers golden and/or silver letter center in Koryo Dynasty and a set of seven rolls of the script written in silver letter on blue paper prayed by Yearn Seong-Ik were studied with focusing on the referred records and an epilog of the script. This script was discovered from Namgewon's stone stupa, when it was transported from original site of Daekam Dong, Kaiseong city to Kyungbok Palace in 1919. This script prayed by Yeom Seong-Ik which was written in silver paste on blue papers is a set of seven rolls, the size is 31.1 cm (length) ${\times}$ 27.2 cm (width). The cover painting and Beonsangwha(Buddha's preaching picture) were painted out and in the roll cover. This script was written with 14 letters on a line whose characteristic with the style of cover painting and Beonsangwha is similar to the golden and silver scripts prayed by kings of Koryo Dynasty. The person who prayed this script was a powerful vassal of the king Chungyeol period, Yeom Seong-Ik. According to Koryosa(Koryo History) and Koryosa jeolyo(summarized Koryo History), it is described that Yeom Seong-Ik offered his own house which was built by a group of strangers as a 'Writing Place for the complete collection of Buddhist Sutras and the place of the script of the complete collection of Buddhist Sutras. Therefore, it is possible to consider that this script a set of seven rolls of the script of Saddharma Pundarika-Sutra was written to pray for himself as well as his families' fortune at the place of golden script of the complete collection of Buddhist Sutras, and enshrined it in the Namgaewon stone stupa when the stupa was repaired in 9th year of king ChungYeol. Above all the most important point should be centered on that he offered his house as a writing place for golden script of the complete collection of Buddhist Sutras as recorded in Koryosa Jeolyo. The writing place for golden script of the complete collection of Buddhist Sutras should be emphasized on the meaning of its site. It is an important key point to clear that Kumjawon(Golden letter center) would be different from Kumjadejangso(the writing place of golden script for complete collection of Budihist Sutras) with Kumkyungsa(Goldm script place). As considereing the point that this script showed the characteristics of golden and/or silver scripts which prayed by king Chungyeol in Koryo Dynasty as they were, even though this script was manufactured by individual praying, this script follwed in the style of Kumjawon(golden letter center) and/or Unjawon(siIver letter center) as they were, because this script was written in the place of the golden script for the complete collection of Buddhist Sutras. In this paper all of the points described above with focusing on the referred records and an epilog of this script were collectively considered to make clear the characteristics of the script centers, golden and/or silver letter.

• Bangmulgwan gwa yeongu (The National Museum of Korea Journal)
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• v.1
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• pp.278-305
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• 2024

Gelatin dry plate photographs dating to the Japanese colonial era and the official documents from the Japanese Government-General of Korea Museum in the collection of the National Museum of Korea are significant materials documenting cultural heritage in North Korea before it was severely damaged in 1950 during the Korean War. There has been an increase in recent years in studies of Buddhist sculptures in North Korea based on these photographs and documents. This paper presents some new comments on the Buddhist sculptures at Seongbulsa Temple in Hwangju, one of the most famous temples in Hwanghae-do Province, based on the related existing research outcomes. This paper aims to facilitate a more comprehensive understanding of the Buddhist sculptures at Seongbulsa Temple by chronicling its history based on historical records, examining its current status, and exploring in detail the production dates and backgrounds of the Buddhist sculptures featured on gelatin dry plates. Prior to Korea's liberation from Japan in 1945, Seongbulsa housed at least seven sculptural items: two Bodhisattva statues, four Buddha statues, and a triad. Two items are from the early Goryeo period, one is from the late Goryeo period, three are from the early Joseon period, and one is from the late Joseon period. Among them, two surviving items are noteworthy. One is the early Goryeo-era Stone Seated Bhaishajyaguru Buddha photographed in Eungjinjeon Hall at Seongbulsa Temple. A close examination of a schematic drawing of the sculpture's pedestal made at the time it was photographed reveals that its material accords with the materials used for the headless Stone Seated Bhaishajyaguru Buddha and pedestal currently found in the old Sangwonam Hermitage site in the Inner Geumgang Valley of Jeongbangsan Mountain. This accordance could mean that the statue is a new significant example of early Goryeo Buddhist sculpture in North Korea. The other notable sculpture is the Gilt-bronze Seated Amitabha Buddha Triad created in 1454 (the second year of the reign of King Danjong) and discovered in Geungnakjeon Hall at Seongbulsa. This statue is currently in the collection of the Sariwon History Museum in Hwanghae-do Province. It is an important example of a dated small gilt-bronze Buddhist statue from the early Joseon period found in North Korea. This paper is a case study of Buddhist sculptures in North Korea, focusing on Seongbulsa Temple. Further utilization of the National Museum of Korea's gelatin dry plates will contribute to developing the study of the history of Korean Buddhist sculpture.

• Journal of the Mineralogical Society of Korea
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• v.20 no.4
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• pp.339-349
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• 2007

For various types of the Pungchon limestone, diverse mineral characters of the limestone including their size and morphology are investigated by using of ELS and SEM to examine the possibility of application as fillers to paper industry. Also, the measurement of zeta potential and the evaluation of coagulation properties in calcite suspension was made for fine powders of the limestone to examine the applicability and efficiency in wet-papermaking process. Fine powder of the Pungchon lime-stone, largely controlled by original mineral characters of ore in mineralogical aspects, exhibits some-what different trend in particle morphology according to ore types, and thereby, the size distribution, zeta potential and coagulation properties also become different. The examined whiteness, brightness, opacity and sheet strength in hand sheet also show remarkable differences according to ore types. These are seemed to be basically due to the results of combined effects of whiteness, site distribution, refractive index, and morphology of the limestone powder on the properties of hand sheet. Considering the investigated results, all types of the Pungchon limestone appear to be sufficiently applicable to paper industry. Especially, the mega-crystalline calcite type is evaluated to be overall suitable for the purpose of paper industry due to the higher values in whiteness and brightness. In addition the fine powder of micro-crystalline calcite type is assessed particularly to have a good quality in sheet strength by virtue of irregular particle shape.

• Journal of the Daesoon Academy of Sciences
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• v.24_1
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• pp.315-349
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• 2014

This paper was carried out to bring the researches on Cultivation Practice of Daesoonjinrihoe which have been at a standstill after analyzing the directions of studies on Cultivation Practice and diagnosing its problems, in addition to that, the paper was also conducted in a way of discussing the research directions in the future. This work enables scholars who have interests in Daesoon Thoughts to easily comprehend over the length and breadth of Cultivation Practice of Daesoonjinrihoe as well as help them understand what level of researches regarding Cultivation Practice has been demanded. Furthermore, this paper will be a step-stone for scholars to ponder how and on what perspective they approach a wide variety of studies on Daesoon Thoughts. The problems reflected on the previous researches on Cultivation Practice are summarized as follows: first, except a few researches in general, problem recognition, research target, style, method, and content are not diverged from the frame defined by Jang Byeong-Gil, who set it up in Daesoon Religion and Thought (Daesoon Jonggyo Sasang) in 1989. Proliferating overlapped researches without developing problem awareness is of great concern. And such researching climate has gradually set in. Secondly, there are numerous researches intending to reveal the researcher's forceful attitude implying faith. Thirdly, most of the previous researches neglect to focus on defining the range of researches. Fourthly, when defining concepts, more thorough insight is needed. Lastly, the researches on analysing symbols and attempting signification analysis are relatively few, only to find many errors. To solve these problems, this paper suggests to develop theories which back up Cultivation Practice by researching on the fields of theory of mind-nature(心性), theory of mind-qi(心氣), theory of pain, Religious Ethics, viewpoint of God/gods, and psychology. Secondly, all the symbols and meanings of elements shown in Cultivation Practice need analyzing more elaborately sophisticatedly and more in-depth. In order to fulfil this goal, by adapting the recent trends of historical studies, it is essential to attempt to engraft Cultivation Practice of Daesoonjinrihoe on cultural phenomena, to analyze thick layers of meanings beneath its surface, to interpret differently, utilizing various perspectives such as focusing on the gender problems, and to extract true meanings out of Cultivation Practice by analyzing everyday events which can occur in real cultivation practices. Thirdly, the terms and concepts regarding Cultivation Practice base the principle themselves. Fourthly, by utilizing methodology of comparative studies on religions, the comparative researches on cultivation practice of different religious traditions are also needed. Lastly, the history of aspects on Cultivation Practice such as transition of mantras, processes which have been conducted through proprieties of prayer and training should be collected and classified. In this context, this work is very important since it helps understand the aspects of transition of originality and characteristics in Cultivation Practice of Daesoonjinrihoe according to passage of time.

• The Journal of the Korea Contents Association
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• v.8 no.12
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• pp.10-19
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• 2008

In this paper, we propose an automated silhouette extraction method that can effectively extract inner-patterns and silhouettes from 3D scan data of cultural asset. First of all, after creating the edge list of 3D vector data, we decide contour edge and crease edge according to viewpoint. In the next step, after extracting surface silhouette by investigating the vector variation of adjacent faces in crease edge, we finally extract the contour silhouette and surface silhouette for generating the blueprint of cultural asset. To evaluate the performance of the proposed silhouette extraction method, we performed experiments of silhouette extraction using a traditional tile model, a car model and a stone monument model. Comparing with the conventional threshold-based silhouette extraction method, the proposed method extracted more distinct and clear surface silhouettes and inner-patterns by effectively removing meaningless edges, such as noise.

• Korean Journal of Food Science and Technology
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• v.40 no.4
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• pp.365-374
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• 2008

Plastics are comparatively new polymeric materials that are manufactured by chemical synthesis, making them different from natural materials such as wood, paper, stone, metal, and glass. Due to a wide range of properties, including processing capabilities and duration, plastics have become rapidly ubiquitous, being used in all industries, and have improved our quality of life. However, it is true that plastics cause environmental contamination problems that have become important social issues, such as environmental hormone leakage due to incineration or reclamation, difficulty in securing reclamation sites, and deadly poisonous dioxin generated by the incomplete incineration of waste plastic materials. To solve these problems, it is urgent to develop and commercialize degradable plastics that can be stably and conveniently used just as general plastics, and that are easily decomposed by sunlight, soil microbes, and heat generated from reclaimed land after use. This review presents recent worldwide trends in the development and marketing of environmentally degradable plastics.

• Journal of Korean Medical classics
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• v.26 no.3
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• pp.19-32
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• 2013

Objective : Chu Cheng(褚澄) was known as the author of Zayaofang(雜藥方) and Chushiyishu(褚氏遺書). His mentions in the medicine have been sufficiently told in his posterity. However, there have been no studies on Chu Cheng and his work like Chushiyishu in Korea. Here, I seek to investigate Chu Cheng and his ideas in the medicine. Method : I investigate Chushiyishu, known as written by Chu Cheng and his scattered portions. Result & Conclusion : His nom de plume(字) is Yandao(彦道). It was supposed that he was born before the year of 420, the era of Dong Jin(東晉) and died in 483. He wrote Zayaofang and Chushiyishu. However, the former was lost. The latter consists of 10 pieces of medical theories. The contents carved on the stone plate was discovered for the first time before 934 at a place presumed as his grave. Then, it was stored as the inner and outer coffins in the tomb of Xiao Guang(蕭廣) in 935 and written on the paper by Buddhist monk Shi Yikan(釋義堪) in 1127. Then, Liu Jixian(劉繼先) carved on the wood for publication and finally, the work was released in 1201. But, it deeply looks that the book was written by other follower. Chu Cheng was a doctor excellent in the inspection and pulse method and his medical ideas prioritized Huo(火) in Mingmen(命門) and Spleen(脾). He expressed his opinions on the four phases of life, sexes and birth defects through Yangjing(陽精) and Yinxue(陰血). In addition, he explained the human pathology through Qixue(氣血). Unsmooth flow of Qi causes diseases by congestion. The entity circulating Yinxue is Yang and protested using urine to treat the hemoptysis(咳血) instead of medicine with cold features. It was frequently mentioned by his predecessors with the fact that Chu Cheng used different medications on housewives from widows and Buddhist nun monks. In addition, Chu Cheng proposed various opinions on cure, diagnosis, treatment, drug usage, pulse positions and hermaphrodites(半陰陽).