• Korean Journal of Psychosomatic Medicine
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• v.28 no.2
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• pp.161-167
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• 2020

Objectives : Although the seasonality of suicide is a well-known phenomenon, little is reported about the seasonality of non-suicidal self-injury. The purpose of this study was to identify the seasonality of wristcutting behavior and to examine its relationship with meteorological factors. Methods : To identify the presence of seasonality, we investigated whether there was a difference in the average number of visits per month to an emergency room (ER) of an urban hospital for 226 patients with wrist-cutting behavior enrolled between December 2014 and May 2019. To ascertain significant meteorological factors, we used the multiple Poisson regression using generalized additive model with time, monthly temperature, monthly sunshine hour, and atmospheric pressure in the prior month as explanatory variables. Results : In males, the average number of monthly visits to the ER for wrist cutting behavior differed by month and was the highest in September (male : p=0.048, female : p=0.21, total : p=0.28). As a result of multiple regression analysis, the average number of patients admitted to the ER for wrist cutting behavior was related to the interaction between atmospheric pressure in the prior month and temperature in males (p=0.010), and showed a positive correlation with sunlight in females [p=0.044, β=4.70×10-3, 95% CI=(1.19×10-4, 9.27×10-3)]. Conclusions : Wrist cutting behavior shows seasonality in male, which is associated with changes in meteorological variables.

• Land and Housing Review
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• v.13 no.4
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• pp.55-71
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• 2022

Recently, the domestic department store industry is growing into a complex shopping cultural space, which is advanced and differentiated by changes in consumption patterns. In addition, competition is intensifying across 70 places operated by five large companies. This study investigates the determinants of the visits to department stores using the big data concept's automatic vehicle access system (pos) and proposes how to strengthen the competitiveness of the department store industry. We use a negative binomial regression test to predict the frequency of visits to 67 branches, except for three branches whose annual sales were incomplete due to the new opening in 2021. The results show that the demand for visiting department stores is positively associated with airport, terminal, and train stations, land areas, parking lots, VIP lounge numbers, luxury store ratio, F&B store numbers, non-commercial areas, and hotels. We suggest four strategies to enhance the competitiveness of domestic department stores. First, department store consumers have a high preference for luxury brands. Therefore, department stores need to form their own overseas buyer teams to discover and attract new luxury brands and attract customers who have a high demand for luxury brands. In addition, to attract consumers with high purchasing power and loyalty, it is necessary to provide more differentiated products and services for VIP customers than before. Second, it is desirable to focus on transportation hub areas such as train stations, airports, and terminals in Gyeonggi and Incheon. Third, department stores should attract tenants who can satisfy customers, given that key tenants are an important component of advanced shopping centers for department stores. Finally, the department store, a top-end shopping center, should be developed as a space with differentiated shopping, culture, dining out, and leisure services, such as "The Hyundai", which opened in 2021, to ensure future growth potential.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.3
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• pp.61-77
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• 2011

This study focused on relevant rock names related to Sinsun(神仙) which had been settled as Taoist traces were combined with places. While interpreting major features of Sundoism relevant rocks, it also discussed types and places of rocks reflected in their names by considering distinct characteristics of landscape characters that ancestors viewed through the rocks or on the rocks. Conclusion of this study is summarized as follows. 1. Among the rock names related to Sinsun, the most frequently discovered one was Sinsunbawi(52) and followed by Sinsunbong(神仙峰: 38), Sinsundae(神仙臺: 31). Other than these, there were Gangsundae(降仙臺: 12), Sunyoodae (仙遊臺: 10) and Sasundae(四仙臺: 5). 2. In the name of Sinsundae, 'Dae(臺)' ascertains that it was located in greatly superb place in the aspects of viewpoint and appreciation where landscape superiority and overlook scenery were fair and outstanding. 3. Sinsunbong was named for a peak of mountain. At the same time, it implied a notion of worship with images of 'merging with sky' or 'looking up.' Most of time, Sinsunbong indicated the tallest rock in the mountain chain. 4. A significant number of Sinsunbong had names where legends of Sinsun's Go game or descent were originated from. It shows that 'Sinsun(仙) and Go game' used to be very important motives for folk etymology of Sinsun related rocks. Along with the Sinsundae, a number of Sinsunbawi were also turned out to exist in land and ocean with excellent marine view. 5. According to analysis of their altitudes and heights of the peaks where the rocks belong to, Sinsunbong, Sinsundae and Sinsunbawi were in order. It might indicate that the rocks were located on top of mountain or that Sinsunbong represented the mountain itself. Compared to this, Sinsundae was located in where distant panoramic views were overlooked. It was not necessarily to be in peak but in where with a great view like Taoist world. On the other hand, Sinsunbawi was located in where has fine scenery and great valley not so far from villages, which proved its name had been influenced by place feature not altitude. 6. Feature of rock with Sinsun related name is to comprise visual stability of worship object with close linkage to attitude of worshiper. Considering its deep connection with communicative method of worship object and worshiper, seemingly it was main factor to lead folk etymology of rocks with Sinsun related names. 7. Rock is an object with the greatest implication of Sinsun imagination and Sinsun rocks show most clearly the fact that Taoism, which used to be considered as inaccessible, had been actualized in a visual and realistic manner with the change of time.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.3
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• pp.116-123
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• 2011

This study investigates the characteristics(form, material, structure, method of construction, vegetation) and model of lotus pond in Joseon Royal Tombs for conservation and restoration. The objects of study are the lotus pond of Namyangju Gwangreung, Hyoreung, Gimpo Jangreung and Sungreung that are well-preserved and the record is remaining. The form is two plane types, square shaped include an island and square shaped. The pond is 7.5~81m in width and 6.5~45m in length and the island is 8~16m in diameter. The depth of water is 0.5~1.2m and the cross section form is narrow bottom and wide top. The material of shore protection is soil in Hyoreung, Gimpo Jangreung and Sungreung. The bottom is mud in all sites. I think that the main material of the lotus pond in Joseon Royal Tombs is soil. The lotus pond is built by soil bank in the structure and method of construction. The water supply and drainage are worked through the culvert. There are many kinds of plants in the lotus pond today, however I think that the model of vegetation of lotus pond in Joseon Royal Tombs is lotus the inside, pine tree, fir tree and flowers the around and pine tree the inside of island in compared the present and the old literature. In comparison with the lotus pond in Joseon Royal Tombs and the lotus pond in the Joseon palace, the material is the biggest difference. The main material is soil in Royal Tombs but isodomic in Royal Palace. I think that the difference of material in between two causes the difference of structure and method of construction. The Royal Tombs is valuable in architecture, landscape and esthetics, this study investigated the characteristics and model of lotus pond in Joseon Royal Tombs. I think that this study serves as a momentum to find a traditional technique in Royal water space and offer the foundation to plan in the contemporary water space.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.3
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• pp.40-51
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• 2011

The purpose of the study was to understand the symbol and locational meanings in building and relocating Gwangje-jeong(光霽亭) through the analysis and interpretation on the construction background, history, the location and its characteristics. Concerning physical environment, human activities, the symbol and meanings of the formal Gwangje-jeong site and the present location, the study was concluded about the site and its meaning of tradition as following. Gwangje, the name of the pavilion, represents the fidelity of Maedang(梅堂) Yangdon(楊墩) who refused as Seonbee(a man of virtue) to be tainted with the corrupt world, which was related with the situation at that time. It implies Maedang's feeling of realizing Noojeongjeyong(樓亭題詠) of Gwangje-jeong along with the high spirit of Gwangpoongjewol(光風霽月). According to the record about rebuilding Gwangje-jeong, Maedang was the very person who planted plum flowers at the pavilion and put up the tablet of its name, Gwangje. Even after his death, Gwangje-jeong was the symbol indicating Yangdon, given the triple high ground and the planting of plum flowers. Also, Sookho(宿虎) town at the entrance of Gwangje-jeong and Bokhoam(伏虎巖: a rock) at the right side of the pavilion signifies the location for praising Maedang Yangdon, and the Yangjipha's Oensi(五言詩: five words verse) engraved on the rock gives a good description about the place, Agyesa that worshiped Yangdon. As Agye-Sa(阿溪祠) where Yangdon was worshiped and praised had been abolished in the 5th year under the Kojong's reign(1868), the spirit praising Maedang had finally been used for the relocation of Gwangje-jeong. Despite the relocation of Gwangje-jeong, the old Gwangje-jeong site has remained at least for 359years at Hucheonli, and its surroundings have maintained the name 'Gwangje' as the front place name morpheme, for example, 'Gwangje-jeong,' 'Gwangje Town,' 'Gwangje Bridge' and 'Gwangje Creek,' for symbolizing the praising of Maedang. Gwangje-jeong, as the center place of solidarity among Namwon Yang's family clan, has been able to maintain its symbol and meanings in spite of relocation, mainly because of the fellowship among the descendants, family clan and alumni who respected virtuous achievements of ancestors and shared the agony of the time. In addition, the symbolism has been preserved since the spirit of Gwangpoonjewol of Yangdon and his high character were cherished along with the spirit of Bongseon(奉先) that inherited and kept virtuous achievements of ancestors.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.14-27
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• 2011

The study reviewed the content and the meaning of the present Yeoju Palkyung(eight scenery) through analyzing and interpreting the Palkyung poems, old maps and paintings, and classic materials transmitted in Yeoju area, and investigated the transmission process. Although five scenes of the Yeoju Palkyungs illustrate abstract landscapes derived from the Sosang Palkyung, there are mixed with local sceneries showing famous historical ruins in the area and local life of the Yeogang(驪江: river). Seunggyeong(勝景) of Yeoju, highlighted in old paintings, has been emphasized through duplication the object and the view point field of Yeoju Palgyeong(驪州八詠), which is usually symbolized to sailing boats along the Yeogang, forests around Cheongshimru, and the layer Jeontap and Maam above Shinreuksa(神勒寺) Dongdae(東臺). It is quite undoubtful that the Yeoju Palyong of Choi Sukjeong and Seo Geojung is the copy of the present Yeoju Palkyung, but the present version is found to be all included in the Cheonggijeongsipyoung(淸奇亭十詠) of Cho Moonsu since the 17th Century, which shows that the Cheonggijeongsipyoung is viewed that it played an important role for the transmission of the Yeoju Palkyung. Also, it. is concluded that the Yeoju Palyong recorded in Yeojidoseo(與地圖書) is the same landscape collecting with the presend Yeoju Palkyung, which would be dated back at least until the mid 18th Century. In addition, given the fact that the studied old maps show Eight scenery, Sachoneohwa, Shinreukmojong, Yeontanguibum, Paldaejangrim, Yangdonagan, Ibanchungam, Pasagwau, and Yongmoonjeukchui, recorded consistently in the same time order, the eight scenic points in the old maps had been apparently established as the typical copy of the Yeoju Palkyung in the 18th Century. Therefore, the transmission route of the Yeoju Palkyung follows two separate versions, one starting from the Yeoju Palyong(Choi Sukjeung, Seo Geojeong) to Cheonggijeongpalyong to Yeoju Palyoung(Yeojidoseo) to the present. Yeoju Palkyung, and the other from the Yeoju Palyoung Geumsa Palyong(金沙八詠) to the old map Palkyung to the Yeoju Palkyung(the late 18th C). These two transmission processes have their own cultural sceneries having the same origin, which are different only in perspective which attempts to cover the representative scenic landscapes including Yeoju and Geumsa.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.90-104
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• 2011

This study identified the scenic characteristics in Gugok and symbolism reflected in titles of the scenery of the season in Gugok from a perspective of Sundoism concentrated on Galeun Gugok in Goisan which is influenced most greatly by Sundoism hermit ideas in Korea, along with Seonyudong-Gugok. In addition, it suggested a measure for arrangement and narrative Storyboard of Galeun Gugok structure corresponding with promotion and propagation of Gugok cultural scenes and educational goals. According to analysis and interpretation of the various Gugoks forming Galeun Gugok in terms of their titles, names engraved in surrounding elements and the coherent symbolic meanings of its scenery and place through comparison with secenery of near Seonyudong-Gugok, the result shows that Galeun Gugok comprises wishes for eternal life in the forms of Taoist hermit-related scenery of the season within the range of stream and old stories based on environmental affordance. In figurative way, it ultimately presents the Wonyung(圓融) idea which seeks a harmonious combination of God and humankind. In particular, consciousness of longevity without problems is deeply inherent in the background of eternalness of plants, divinity of animals and natural homeostasis. Also, 9 Gok Seongukam set up at visual terminal reflect noticeably that a game Go is the amusement of the immortals, which describe 9 ranks of GO figuratively. Galeun Gugok is formed in a unity structure, which is hermit-oriented Sundoism and motif, such as longevity and immortality, divinity and enjoyment of Sundoism hermit rather than used as a method to achieve taste for the arts or ethics. Given the fact, it presents eternal longevity and atmosphere of seclusion in very strong way. Development of spatial Storyboard structure based on this is interpreted as 'Entering the world of hermits(Introduction)'-'Looking the world(Development)'-'Living with hermits(Turn)'-'Becoming hermit(Conclusion).' Finally, the scenery image of Galeun Gugok presented in surface structure is based on beauty of the immortal land scenery as well as beauty of pre-achieved space in Gugokdongcheon and arranged the vertical narrative structure as divine space of 9 ranks of GO. Taking those into account, scenery story board of Galeun Gugok was suggested in accordance with a theme of 6 cuts; Gnagsun(降仙)-Sungyeong(仙境)- Sunyak(仙藥)-Sunhak(仙鶴)-Sunyu(仙遊)-Eunsun(隱仙). It is obvious that hermit which live an eternal life as a representative of Sundoism, should be the main motif of scenery planning in a filed of modem landscaping. Therefore, the most valuable component in designing Korean landscape must be the homeostasis of surrounding landscape which supports the characteristics of invariability and divinity of nature.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.4
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• pp.170-181
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• 2011

This Research will explore the meaning indicated in the landscape meaning and feature of literary group culture, focusing in Gurujeong(九老亭: pavilion for nine elders) and Samgaeseokmun(三溪石門: stone gate in three valleys) located in Dundeok-myun, Imshil-gun, and will seek to understand the implications by studying the cultural landscape spread out in the area. The place where Gurojeong and Samgaeseokmun is located is the meeting point of the three valleys, Dunnam stream, Osu stream, and Yul stream, which is the main location to view the beautiful scenery, which has the nickname as the dwelling place of a celestial being. Especially, based on the description of old maps, "Samgae(three valleys)" and "Samgaeseokmun" possesses significance as a landmark and shows a characteristic feature of landscape structures of low hills. Dangugurohwe(丹丘九老會: nine elders gathering on the dwelling of a celestial being) originated from Hyangsangurohwe(香山九老會: gathering of nine elders on a fragrant mountain), where Baekgeoi(白居易) of China was one of the main people. This group was organized by nine elders over the age of 60 desiring to view the scenery of Doyeonmyeong. The group enhanced the literary spirit on the low hill, erecting a tower, and enjoying the beautiful scenery changing every season with scholars from the same region. This phenomenon seems to have been formed upon the positive response to gatherings of elders, which were prevalent in the Joseon Dynasty. If the internal idea pursued by the group was "longevity," the external idea pursued can be summarized as "the spirit the respect for the elders." Naming the groups as 'Dangudae(place where the celestial being lives), Guseondong(valley of seeking a celestial life), Bangjangsan(mountain of a high priest), and Daecheondae(place of communicating with God) was likely a device to introspect oneself and symbolize one's life process. Furthermore, the reason Samgaeseokmun, which is an imitation of Choi, Chiwon's work, was built near Soyocheo, was probably to yearn the celestial land and based on the desire to follow Choi, Chiwon, who was the most self-fulfilling being presumed to have become a celestial being by practicing the pursuit of freedom, escaping from the reality. After tracing the symbolizing meaning of the four letters carved in the left side of the stone wall of Dangudae, the conclusion that this place was not only a place for literary gatherings of the nine elders of Saseong(four families), but was a place where the celestial being dwelled could be inferred. Corresponding with Dangudae and Gurojeong, which are places where the order of human and nature is harmonized and where its meaning associated with the location intensifies, arouses strong bond, can be said to be the symbol of the traces of celestial beings where the spirits of attachment to a certain place is embedded. The acts performed in Dangugurohwe were those of traditional leisure including strolling, viewing the scenery, drinking, composing poems, and playing instruments, and sometimes listening to stories, tea ceremony, prayers, and fishing were added, which indicates that the gathering had a strong tendency towards pastoral and hermit life.

• Journal of Korean Society of Forest Science
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• v.100 no.2
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• pp.142-148
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• 2011

This study was carried out to clarify the change characteristics of stream water quality by type of forest from June to August, 2009 in three stands (Castanea crenata, Pinus densiflora and Plantation Land) of Samgye-ri Naedong-myeon Jinju-si Gyeongsangnam-do. The pH of stream water in three stands was highest in Pinus densiflora (pH 7.18) followed by Castanea crenata (pH 6.90) and Plantation land (pH 6.90) while the electrical conductivity of stream water was highest in Plantation land followed by Castanea crenata stand and Pinus densiflora stand was the lowest. Cations contents of stream water in three stands were high in order of $Ca^{2+}$, $Na^{+}$, $Mg^{2+}$, $K^{+}$, and $NH_{4}{^{+}}$. But anions of stream water in Castanea crenata stand and Pinus densiflora stand were high in order of $SO_{4}{^{2-}}$, $Cl^{-}$ and $NO_{3}{^{-}}$ while those of stream water in Plantation land were high in order of $SO_{4}{^{2-}}$, $NO_{3}{^{-}}$ and $C\lambda^{-}$. The stream water in three stands was significant at pH, EC, $NO{^{3-}}$, $Ca^{2+}$, $Mg^{2+}$, $Na^{+}$, $Cl^{-}$, TNU and Color by duncan test. These results indicate that quality of stream water have a difference among three stands. The level of pH, $NH_{4}{^{+}}$, $Cl^{-}$, $SO_{4}{^{2-}}$ and $NO_{3}{^{-}}$ of stream water in three stands were within the domestic use standard for drinking water. but turbidity and color of stream water were more than that of domestic use standard for drinking water. Therefore, non-point sources like urban forest watersheds which are soil erosion and fertilizer application lands should be taken to the appropriate mitigation measures if they are to be used as source of drinking water.

• (The)Study of the Eastern Classic
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• no.32
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• pp.425-441
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• 2008

Most of Korea's Kyungmaedorock(auction book: 競賣圖錄) and pictorial record of exhibitions in the modern times were usually published in the 1930s. Although 1930s were periods of the Great Depression when economic slump continued because of the aftereffect of the slump in the stocks issued by the US in 1929, during this period, Japan began regular continental invasion starting from invasion of the northeastern area of China. To curio dealers, the 1930s were 'boom period of curio transaction' and in urban cultural aspects, the period is evaluated as the one when the first step of modernism was formed. Collection, photo-printing and arrangement of the data related to modern exhibitions including the Auction Book being published at that time are very important because they enable us to know characteristics of fine arts in the transition period from paintings & writings to fine arts in addition to enabling us to revert the circulation history of our paintings & writings and curios. Furthermore, these data will become important data for reconstitution of the circulation history of the Eastern Asia's modern art works. Although the pictorial record of Joseon's Exhibitions of Chinaware and Wooden Works(朝鮮陶磁木工展) is a small and thin one, it records our country's high level chinaware and wooden works. Although we can't know the exact time for 'Joseon's exhibitions of chinaware and wooden works', they are assumed to have been held in Tokyo, Japan in the 1930s and there seems to have been sale of works, too. As such, studies of the books such as the auction book and exhibitions under Japanese imperialism have the first importance in the fact that through which we can examine the course of outflow of our art works to Japan. Furthermore, they can be studies of art-sociology that examine flow and phase of recognition and taste of art works of those days. And from now on, comparative studies of auctions and exhibitions being held in Japan such as Tokyo, Osaka and etc. as well as art markets in Seoul during modern times would also be necessary.