• Korea Science and Art Forum
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• v.27
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• pp.101-114
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• 2017

Based on the relationship between urban public space, urban lighting and the sense of place, this paper aims to analyze the lighting environment types with the sense of place and their characteristics. First, with the theory study as the research foundation, it extracts six spatial factors of public space lighting design and then analyzes 12 relevant cases on the basis. Finally, it divides the 12 cases into four types, Basic types, Storytelling, Interactive and Multi-Media and analyzes the core design factor and characteristics of various types. The results show that: first, functionality, sustainability and aesthetics are the basic factors to realize the urban public space lighting places. Second, the six cases of "Storytelling" show that the theme of specific areas, namely the exploration of "story" is conducive for lighting design to form clear and definite environment recognition. Third, for "Interactive" and "Multi-Media", the intervention of new media technology and new lighting way has made the wide expansion of urban lighting design connotation and extension. The research results show that strengthening the urban location performance by the lighting design could improve the city image, which provides the basis for the development of urban public space lighting design.

• 지역과문화
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• v.6 no.3
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• pp.29-53
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• 2019

Korean traditional women artists are placed in dual suffering from unequal rights in terms of gender and misrecognition endowed by historical legacy. There has been no clear cut definition but interchangeable adoption of various terms such as Yeo-ak, Yeo-gi, and Gisaeng even in the study of music theory and history itself. Study on female musician has been mostly performed on the basis of music theory and history so that one sided discourse on female traditional artist has survived and aggravated its connotation during the colonial ages and modernization. Envisioning traditional female artist as instrumentalizing their body and status as artist resulted in crucifying victims of sexual harassment is one recent example. This study is an attempt to collect knowledge on the various layers of discourse about the status and role of female traditional artist. This is a first stage of analysis covering the period Joseon dynasty where original and official records regarding female traditional artists remains until today. The findings are that policy discourse are to be classified as politico-ideological layer, music theoretical layer, and socio-political layer. It is to be clarified in the future which layer has the most sustaining influence to the present and why.

• Korean Association of Arts Management
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• no.50
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• pp.147-175
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• 2019

Gentrification is the process by which a working class or other disadvantaged area of a city changes into a middle class residential or commercial district. Gentrification, which has received much attention in arts management in recent years as part of a concern with urban regeneration, carries a generally negative connotation. In this paper, we interrogate this negative view of gentrification to explore ways arts entrepreneurship can convert the perceived threat of gentrification into opportunity. To this end, we examine the Mullae Cultural Salon in the gentrifying district of the Mullae Creative Village. Through a literature review of gentrification and arts entrepreneurship, we propose seven elements of art entrepreneurs responding to gentrification as an analytic framework for research. Our findings indicate that arts entrepreneurs were able to extend the maturity phase of gentrification and thus enhance the cultural and artistic value of the region for other artists and arts entrepreneurs.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.4
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• pp.11-31
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• 2019

Taking the painting, 「Landscape of the Jiuqu River in the Wuyi Mountain」 as the study object, which was produced in the middle of Qing Dinasty and collected by the British Library, this paper analyzes the scenery names recorded in the painting, and describes the landscape of the mountain, port and ships, architectural elements, civil elements, character, stone inscription and other scenery in the painting. The investigation results of the cultural landscape properties of each Gok are as follows: According to statistics, there are 28 architectural elements in the painting, including 7 pavilions (25%), 4 temples (14.3%), 3 Colleges and Taoist temple (10.7%), 2 Dowon(道院) and villages (7.1%); 29 civil elements, including 9 holes (31%), 6 Historical Sites (20.7%), 3 Stations(臺) (10.3%), 2 Ferries, 2 Bridges, and 2 Ponds (6.9%), 1 Garden, 1 Gate, 1 Mine(坑), 1 Well and 1 Remains(3.4%). These physical factors and civil factors are the important relics reflected the cultural landscape attributes of Wuyi-Gugok in the middle of the 18th century. Among the shape element in each Gok, the 1^st Gok have 12 shape elements(21.1%), the 5^th Gok 11(19.3%), the 4^th Gok 9(15.8%), the 9^th Gok 8(14%), the 3^rd Gok 7(12.3%), the 6^th Gok 4(7%), the 2^nd Gok 3(5.3%), the 7^th Gok 2(3.5%), and the 8^th Gok 1(2%). Through collation, it is found that the 1^st Gok, 5^th Gok and 4^th Gok have more prominent cultural landscape characteristics. In addition, according to the description of scenic spot types in 『Muisanji(武夷山志)』, there are 38 types of scenery description in the painting, of which, the three scenery of big rock, peak, small rock occupy the vast majority. This reflects the Danxia(丹霞) landform characteristics of Wuyi-Gugok. The cultural connotation of Wuyi Mountain expressed and contained in the painting is analyzed and interpreted, and it is found that the Jiuqu(九曲) River in the Wuyi Mountain has Neo-confucianism culture, Taoism culture, Buddhism culture, Tea culture and so on. In addition, among the 171 scenery names shown in the painting, there are altogether 7 stone inscriptions that are consistent with or have the same meaning as the rock inscriptions site, including 3 for inscriptions praising the landscape, 3 for philosophical inscription and 1 for auspicious language inscription, which is considered as the important basis for the mutual textuality between the pictures and the stone inscriptions.

• KOMUNHWA
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• no.69
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• pp.41-62
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• 2007

This thesis is focused on the bat symbol, especially prevalent crafts’ pattern in late Joseon period on museum collections. For the use and reperception of them, I am aimed for appropriate analysis of bat symbol by co connotation which reflects the characteristics on number.plastic.color symbol. This point of view, bat idea and bat paintings in Joseon period will be the source of meanings to the denotation of bat patterns. In the museum collections, bat paintings and patterns are calculated 324 objects. By functional classification, the bat patterns on dwelling-crafts for the royal and for the people will be discussed. In result, the bat paintings were only a few, however, usually connoted Taoist hermit with super-natural powers.longevity.protector of Lightning-God.praying for long life, which were based on Taoism. Meanwhile the bat symbol of dwelling-crafts for the royal projected the longevity and prosperity of king and queen. By he Five Blessings and good auspices in Ching dynasty, number of '5.4' implied 'Five Blessings', Through the correct recognition of homo-phone, "a bat(蝠, fu)=happiness(福, fu)$\rArr$five bats(五蝠)$\rArr$Five Blessings(五福 )." In the case of bat symbol on the dwelling-crafts for the people, especially its for women, it expressed on the metal-decoration of furniture and paper-crafts. In the metal-decoration, the signified of bat symbol were expellant-evil('guard') that of characteristic signifier, white-silver color, number '1' and 'flying-type'. The bat symbol on paper-crafts for the people signified 'double happiness'.harmony.sons with number of '2', 'Five Colors' and the transformation of 'flying-type'. Accordingly, the bat symbol on the dwelling-crafts for the people marked 'happiness and guard', because the people had concrete cognition the bat symbol as a denotation of 'happiness and 'guard' by itself

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.69-81
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• 2014

Herman $F{\ddot{u}}rst\;P{\ddot{u}}ckler-Muskau$ is one of important figures in German landscape architecture who designed both Muskau Park and Branitz Park and published garden book Andeutungen ${\ddot{u}}ber$ Landschaftgartenerei (Hints on Landscape Gardening) in 1834. He was a German nobleman who governed Muskau estates while working as both a writer and a landscape gardener. German landscape gardening was grounded on Romanticism, which was represented in diverse ways such as the reconciliation between man and nature, the liberation of reason, and the pursuit of liberty. The intellectuals came to have an interest on landscape gardening since the garden carried the cultural connotation such as the idealized epitome of nature. This study is to investigate how his idea of landscape gardening had been developed through his personal life and social background and to find out his landscape gardening theory and its unique gardening techniques. Finally, the inventive aspect of his garden theory and contemporary significances in practices were discussed. $P{\ddot{u}}cklers^{\prime}$ personal experience and social background provide us to understand the idea of garden. First, there was a mixture between reality and fantasy in his garden theory. It was due to the influence of Romanticism and literary garden. Second, his gardening mentality and technique were influenced by the late 18th century English garden practices, which emphasized the expressive aspects. Third, $P{\ddot{u}}cklers^{\prime}$ inner disposition and personal experience were represented in his garden design. Fourth, the intention of creating landscape garden for the local people might be a self realization of his contradictory characters between falling nobleman and liberal social leader. The significant value of $P{\ddot{u}}ckler^{\prime}s$ garden idea might be closely related in the dual nature of humanistic garden tradition and garden practice for social agenda. Therefore, his garden idea pursued of the comprehensive landscape strategies toward ideal communities and ethical spirits while concerning ecological, social, economic sustainable development of the region. Furthermore, his landscape gardening aims at the total landscape encompassing garden to region as well as the Gesamtkunst combing the beautiful with the useful. $P{\ddot{u}}ckler^{\prime}s$ holistic attitude gives us fresh insights and new directions to contemporary landscape theory and practice.

• Sijohaknonchong
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• v.20
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• pp.113-139
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• 2004

This article intends to illuminate how the men. leading agents in Saseol-sijo - musical performers. writers of lyrics, patrons. composers. compilers of Sijo anthologies, audience. etc. - In the Late Choson period, viewed or recognized women and how their understanding of women was reflected in the texts. Working with texts with the theme of 'Love,' this article starts with categorizing two types of love: the first type, 'lovelorn heart' focusing on unilateral pining for a single lover who is absent now and the second type. 'physical love' concentrating on bilateral sexual intercourse. In addition to the types of love, the gender of poetic speakers, distinct from real poets is vital to characterize the discourse of love. According to these two factors. texts in question fall into four groups: texts that a female speaker displays her lovelorn heart('Type 1'), those where she speaks about her sexual experiences('Type 2'), those where a male speaker sings his lovelorn heart('Type 3'), and those where he describes his sexual experiences('Type 4'). Of these. 'Type 2' and 'Type 3' are key to understanding of the men's view of women. With respect to the configuration of the theme of 'Love,' it should be noted that in Korean literary history, the nim or a 'sweetheart' had signified the totality of value or a perfect entity which makes one's life meaningful and that 'Type 1,' the pattern that a female subject expresses her love toward male min, had constituted a traditional way to convey the theme of 'Love.' In terms of this connotation of min. a remarkable increase of 'Type 3' implying the increase of male speakers, reveals the extent to which women, the male speakers' min, accomplished their entry into a 'sacred area' -the position of mm-in which only men had occupied; females are focused and centralized. This article considers this phenomenon as an exhibition of the upgrade of women's significance and weight in the Late Choson society and as an index of 'modernity.' Meanwhile, given that most of the Saseol-sijo poets are men, the emergence of the 'Type 2' texts in which male poets have female speakers disclose their sexual experiences, demonstrates a representative example that women are degraded to be a means of men's pleasure; for this situation gives men more pleasure than when male speakers reveal their sexual experiences. Not only 'Type 2,' but texts group which basically belongs to 'Type I' and conveys the theme of 'Loyalty' through the female voice by substituting rulers-subjects relation for men-women relation, also falls under the same case. For men employ female voice as a poetic device in order to stress the theme of 'Loyalty' This article regards this phenomenon as an index of 'pre-modernity,' in the sense that in a pre-modem society, specifically in Early Choson, male-oriented value system dominates, thereby alienating women. As it is well known, the Late Choson is marked by a transitional period from a pre-modem society to a modem society. Therefore the ambivalence of the premodern and the modem can be found mixed in every segment of the society. The dual aspects of the masculine view of women in Saseol-sijo constitutes one example. The significance of the Saseol-sijo in Korean literary history can be found in this phenomenon.

• Journal of Korean Philosophical Society
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• v.148
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• pp.213-238
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• 2018

The purpose of this paper is to study logical status and meaning of '$l{\grave{e}}i$[類]' in integrated concept system of 'míng[名]'. The subordinate relationships and integrated systems between genus and species are made up 'míng[名]' in pre-Chin's logical arguments. And '$l{\grave{e}}i$[類]' is a concept that designate what kind of category in all names of sorts and kinds in early China. The logical argumentations of early Chinese philosophers reflect subordinate relationship and integrated system of 'míng[名]'. And then early Chinese philosophers use the 'míng[名]' in other to denote a general concept that totally indicate meanings of genus and species like as Confucius' '$zh{\grave{e}}ng$ míng[正名]'. However early Chinese philosophers make philosophical issues of correspondence between míng[名] and shí[實], not subordinate relationships between genus and species. And then they use the 'míng[名]' in other to denotes not a general concept but a kind of category. Therefore the concept of 'míng[名]' used as a meaning of general concept and sorted out integrated concept system of 'míng[名]' as two categories of míng[名] and shí[實] at the same time in logical argumentations of early Chinese philosophers. The '$l{\grave{e}}i$[類]' of pre-Chin difference from genus of Aristotle spontaneously and conceptually. It is not a concept that in other to compose subordinate relationships and integrated systems. It is not a kind of genus. It divide a kind of denotation that means some kind of aggregations into existence and nonexistence. And it divide a kind of connotation that means some kind of attributes into same and difference. When early Chinese philosophers make distinction and demonstration the correspondence between míng[名] and shí[實], so to speak distinction mean to divide and classify into correspondence or non-correspondence, and demonstration mean to argue about the division and classification. Therefore the concept of '$l{\grave{e}}i$[類]' is a criteria that is to divide and classify the correspondence between míng[名] and shí[實] in integrated concept system of 'míng[名]'.

• (The)Study of the Eastern Classic
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• no.73
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• pp.249-279
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• 2018

This paper analyzes the 'strategy' of Sunzi's art of war and verifies the modern application value of it by combining the 'strategy' of the art of war with modern enterprise management. The army adopts 'war strategy' with the aim of minimizing the loss and sacrifice caused by the war and winning in the shortest time. Enterprise aims to maximize profits at the lowest cost and adopt 'business strategy'. Three factors of art of war's strategic, the 'power', 'adaptation', 'trickery', are similar to the 'internal resources analysis', 'external environment analysis' and 'information management' of the modern enterprise's management. In the process of establishing strategic plan, the art of war emphasizes 'strategy of winning' including 'prophet', 'estimates' and 'maneuvering', in the modern enterprise management, 'prophet' is shown as 'competitor analysis' of the '3C analysis' and 'benchmarking learning'. 'Estimates' is shown as 'SWOT analysis' and '4P's analysis'. 'Maneuvering' is shown as 'market positioning strategy' and 'market preemption strategy'. In the stage of implementing the strategy, 'surprise attack strategy', 'strategy of void and actuality' and 'dividing and integrating strategy' of the art of war are shown as follows in modern enterprises ; 'Surprise attack strategy' is shown as 'differentiation strategy' and 'concentration strategy', 'Strategy of void and actuality' is shown as 'information management' and 'rational market positioning strategy'. 'Dividing and integrating strategy' is shown 'diversification strategy', 'concentration strategy', 'change management', 'basic competition strategy', 'synergy effect' and etc. In terms of strategic results, the 'victory of war' of the art or war is shown as 'competitive advantage' and 'maximization of profits' in modern enterprise management strategy. In a word, although there are different names and expressions between the strategy of Sunzi's art of war and modern enterprise, but their connotation is the same. We can see that the art of war which was written in about B.C.500, has left a high utilization value for modern enterprise in rapid environmental change and intense competition.