• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2003.05a
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• pp.41-46
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• 2003

In recently, Is inhabiting more than 70％ indoors during a day in case of company employee and ordinary people which is looking at usual business. Therefore Thermal comfort of human body about indoor temperature and air flow acting very heftily. When intestine temperature is fallen for external low temperature and air flow in winter in case enter into heated room feel comfort by effect of temperature and feel comfort or discomfort by room heating condition gradually. Therefore it is important that grasp thermal comfort about temperature and air flow in heating to keep continuous comfort in indoor dwelling. Temperature and thermal comfort factor of emotion ＆ sensitivity image exert fair effect since heating middle although thermal comfort change greatly effect on sensation about temperature at actuality heating early. Need much study yet in vantage point of emotion ＆ sensitivity although much study were held about thermal and comfort sensibility and when heat in existing research until now. Therefore this study is targeting that evaluate thermal comfort through introduction of estimation method by emotion ＆ sensibility image real and synthetic sensibility about thermal environment that is becoming winter heating.

• Architectural research
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• v.13 no.3
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• pp.19-29
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• 2011

Visibility of a space have been defined in several different ways: such as the axial line covering a convex space, a convex space defining the fattest shape in a space and an Isovist field formed by a field of vision at a given vantage point. Isovist fields are referred to as a descriptive medium to describe a movement by reviewing and analyzing geometric properties in them. Many descriptive methods for analysis of three-dimensional isovist are applied to analyzing the morphological properties in a 3D space more realistically. Although these models are regarded as a more advanced method for describing spatial properties, they have pros and cons such as complex mathematical calculations and somewhat arbitrary calibration in addition to huge consumption of memory space. These difficulties lead to the development of a three-dimensional visual accessibility model that explores the implication of building shape on the calculation of isovist fields drawn on a 2D plane. We propose a conceptual framework of how to measure the isovist field not as a 3D volume but as a combination of 2D plane on the ground with the 3D building shape of it's facade.

• Convergence Security Journal
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• v.13 no.3
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• pp.79-84
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• 2013

In this study the improved service innovation model to solve the problems that appear from a vantage point of the providing security services process through the application and appeal process of convergence security technologies proposed. The model was in view of service science to resolves the limitations that facilities management and unmanned security of physical security field through the application of meteorological information on convergence security technologies. The contribution of this research: improved risk management based on convergence security technologies through service innovation management, evaluated the quantitative value of risk management activity using service effects, and development of physical security service providing methodology using meteorological information.

• Journal of the Korean Institute of Landscape Architecture
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• v.25 no.4
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• pp.61-81
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• 1998

This paper is to explore a new planning paradigm for urban landscape-not a new paradigm for urban landscape planning- in the light of environmental aesthetics. This is an endeavor to construct an alternative to the philosophical absence in the landscape profession. The landscape has been conceived of visual -oriented urban scene, and this notion is one of consequences of subject-object dualism in Western modernity project. In contrast with this convention, the authors consider urban landscape as the aesthetic field in which an experience of urban landscape actually works in human ordinary life and experience. To acquire an aestetic experience in this aesthetic field, we need to replace the doctrine of disinterestedness with engagement and contemplation with participation. This concept of participatory engagement with landscape can be translated in specific and concrete ways into urban landscape planning, replacing the traditional panoramic landscape with engaged landscape. The authors approach the urban landscape from the vantage point of an aesthetics of engagement by developing the four environmental situations : the sailing ship, the circus, the cathedral, and the sunset. They may serve as useful guides in cultivating and beautiful urban landscape to replace the forces of vulgarity and monotony that depress the modern city. What is beautiful urban landscape\ulcorner What makes the urban landscape beautiful\ulcorner Finally, the authors suggest identity and amenity as practical concepts of urban landscape planning for an aesthetic experience.

• Cross-Cultural Studies
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• v.35
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• pp.35-58
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• 2014

This article aims to explain the 'people-image' of Bakhtin's works in the light of "Transgredience" and "Transition." According to Bakhtin, the real core of every culture is the people. But he did try to answer the question "what is the people?" I think, the secret of Bakhtinian thought is located in the people-image, because it is the one of the territories that have not been explained. For this purpose, we have to examine four images represented by Bakhtin, - rogue, clown, fool, thief. These images are the concrete and individualized images of people, who can characterize the power of transgredience and transition. They commonly act for changing ordinary borders of identities formulated with nationality, property, status, classes, sex and so forth. In this sense, Bakhtin thinks that the masks are the real nature which can show the mutational power of Being. That is the kernel of Bakhtin's people-image that makes and changes every cultural world. When we accept and practise this perspective positively, we will realize that Bakhtin's position is close to the cultural politics, because a practical power of thought cannot help but being political. That's why we have to investigate Bakhtin's people-image from a vantage point of "Transgredience" and "Transition."

• Journal of English Language & Literature
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• v.64 no.2
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• pp.239-252
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• 2018

Many critics on William Faulkner's As I Lay Dying have read Addie Bundren as the disrupter of patriarchal power. By raising a question about the usefulness of language, which is the symbolic power of patriarchy and having an affair with the preacher Whitfield outside her wedlock, Addie directly challenges patriarchal power. From a quite different vantage point, however, we can read Addie as the faithful protector of the norm of whiteness in the South in light of the social hierarchy. As a former school teacher, Addie is from middle class before her marriage. By her marriage to Anse, who is a lower-class white, Addie has class anxiety that her social status in the stratum of whiteness could be degraded from a middle to a lower-class white, "white trash," which means that she is not white enough to be considered as the normative whiteness. Especially, Addie's anxiety increases due to the fact that her lazy husband is reluctant to work and relies on her neighbors, causing her family to be entrapped at the bottom in the stratum of whiteness. Therefore, she decides to take revenge on her husband after giving birth to her second child Darl by asking Anse to bury her dead body in her familial burial site in Jefferson. By rendering her family to suffer the hardship during her funeral procession, not only does she succeed in taking revenge on Anse on the surface, she regains her social status as a middle-class white by being buried in Jefferson fundamentally.

• Journal of English Language & Literature
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• v.64 no.3
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• pp.383-401
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• 2018

Wordsworth is a poet who thought seriously about problems of human's relation to the world as perceiving subjects. What he calls "the life of things" illustrates the enabling power of things and their vitalities at play in excess of human elements. Drawing on this, he provides insights into vital materialities that act upon, and are acted upon by, the collaborative circulation between human and nonhuman agency. This paper aims to reinvigorate the debate about Wordsworth's ethics of things in terms of such critical notions as things, objects, agency, and nonhumans in an attempt to explain what he envisions as new environmental realities built upon nonhierarchical, collaborative relationships between all participants. From the vantage point of things, we see clearly what has been neglected in the New Historicist critical method. It holds fast to the conceit that humans are entitled to have sole agential legitimacy, disregarding the vibrancy of things. They opt for the objectified matter or the (re)presented state of things. But in terms of Wordsworth's life of things, all participants have equal amounts of agency regardless of their forms and for that reason humans are expected to respect other things' sovereignty. Through encounters with things, things in their thingness show up for us, only to reveal the ineradicable rupture between themselves and their objectified forms.

• Journal of the Korean Institute of Landscape Architecture
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• v.24 no.2
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• pp.74-85
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• 1996

The objective of this study is to investigate the influence of viewing aspects based on formal aesthetics and psychophysica approaches of the MAISAN provincial park for landscape management. Two methods are applied in this study. First, according to the field study with map the quantitative analyses of the viewshed area, visual section and scenery types were achieved, herein the visual landscape characteristics is found. Second, based upon visual preference evaluation of the relationships between the viewing aspects and visual preference scores to landscape slides were measured by questionnaires. The main conclusions obtained by the research are as follows. Visual area of MAISAN has a quite wide viewshed though itself is surrounded. The preference for the visual terminal were change by its characteristics to the visual corridors, view points, viewing types and viewing distance. Especially, the regression analysis between visual preference and viewing distance indicated Y=-3.20X\sup 2\+18.64X+20.64. In this case, viewing distance 794m from O\sub p\ is more important point for visual experience. The viewing types B·C and famous view A obtained a high visual preference score. A visual terminus are viewed along an entire RouteA, so revealed by its evolving spatial containment as to exact the full potential of its changing perspectives. Also we conducted the degree of visual influence by the shade in visual area at MAISAN and clarified viewing vantage Route and point in LSH being necessary for landscape preservation.

• Journal of the Korean Institute of Landscape Architecture
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• v.30 no.5
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• pp.1-15
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• 2002

The purpose of this study is to consider the relationship between point of view and prospect behavior occurring in the experience of a painted landscape. This study analyzes one hundred scenes from the 'real landscape painting' by Kyumjae, one of the most famous landscape painters in 18th century Korea. The results of the study are as follows: 1. It clarified that Kyumjae's real landscape painting's 100 scenes have many view points such as roads, bridges, pavilions, mansions, towers, terraces, hillsides, bases of mountains, broad flat roots, brooksides, and ferries that are apt to occur in the experience of a landscape. The spatial characteristics of view points are expanded fields of vision, evening and night scenes, edges of landforms and structures from which to improve ones vantage point. 2. It showed that 99 out of real landscape painting's 100 scenes depict a view point'to look'and 79 of 'to look through', 73 of 'look around'and 24 of 'to look over'. 3. It showed that real landscape painting's 100 scenes depict that the view point 'to look' is mainly upon a road from which people are looking over an elevated landscape such as the top of a mountain or rockwall. The view behaviors of looking down are depict 15 pavilions, 14 mansions, 2 broad rocks and 10 mountain tops on which people experience landscapes such as fields, rural communities and streams. The view behaviors to look depict 33 ships, 24 roads, 24 pavilions, 19 mansions and 12 terraces on which people experience landscapes such as distant views of mountains, rivers and landscapes. The view behaviors to look around to obtain orientation of landscape are depict 16 pavilions, 10 mountaintops. To glimpse on the way of journey depict 33 ships and 29 roads. To look over depict 11 mansions and 6 pavilions on which experience borrows the landscape. To look through landscapes such as rivers, mountains and rockwalls depict 15 roads, 14 pavilions and 11 mansions. To exchange looks depict 30 ships, 14 roads, 12 pavilions and 12 mansions. We expect that these results might give clues toward the experience of landscapes and the practice of landscape design methods which select viewpoints, and in the design of view points suitable to prospect behaviors.

• The Journal of the Korea Contents Association
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• v.15 no.7
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• pp.93-105
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• 2015

Upon ruling that two photographs of "Solsum(located in Samchuk city)" are not substantially similar, issues on the level of protection for the copyrighted photographs expecially on landscape, which appearance could be similar whoever takes, were raised. Accordingly, this study summarizes and suggests the standards of expression differentiating from idea on photographic works. The results are as such. Elements of expression on photographs are positioning of subject, framing, selection of camera angle, control of light's direction and quantity, length of exposure, speed of shutter, timing or posing of the shutter. kinds of emulsion, methods of development, and any other methods of creative and characteristic photography. On the other hand, elements of ideas of photographic works are theme, concept, feeling, appearance of objects, time or season of taking a picture, vantage point, choice of horizontal or vertical angle, etc. As a result, this study reconfirms that copyright law entitles photographers to copyright as to their minimal degree of creativity, not as to their sweat of brows.