• Journal of Chest Surgery
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• v.56 no.1
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• pp.23-24
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• 2023

• Journal of the Korean Geosynthetics Society
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• v.14 no.4
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• pp.1-9
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• 2015

According to national regulations and its commentary, such as Rivers Design Criteria & Commentary (KWRA, 2009), Foundation Structure Guideline and its Commentary(MLTM, 2014 and KGS, 2009), the integrity evaluation of river levee includes slope stability evaluation of both riverside/protected low-land and piping stability evaluation with respect to foundation and levee body along with water level conditions. In this case the design hydro-graph can be the most important input factor for the integrity evaluation, however it is fact that the national regulations do not provide any proper determination methods regarding hydro-graph. The authors thus executed an integrity evaluation of sluice gate in levee by changing each hydro-graph factor, including rising ordinary water level, lasting flood water level, falling water level, and flood frequency, in order to suggest a determination method of reasonable hydro-graph. As a result, the authors suggested that at least over 57 hours of rising ordinary water level and over 53 hours of lasting flood water level should be considered for the design hydro-graph of sluice gate in levee at Mun-san-jae.

• Journal of the Korean Society for Aviation and Aeronautics
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• v.26 no.3
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• pp.40-47
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• 2018

Reducing aircraft speed is the important task in the Rejected Takeoff and/or landing process. It is known that the effect of the Speedbrake is most important factor during the rejected takeoff maneuver in particular near V1 on the critical field length runway. The B747 designer created Automatic Speedbrake Control System to relieve pilot workload, improves brake operation and ensures proper Speedbrake operation for rejected take off. However, those who make the Rejected Takeoff procedure ignored the Automatic function and made it does all manual operations. This lets procedures difficult, complicated, and a cause of confusion and pilot error. This study was conducted to commentary the mechanism and function of the Automatic Speedbrake Control System of B747-8 and to propose appropriate B747-8 Rejected Take off procedures for its function to reduce the workload of pilots and contribute to reduce the possibility of pilot error during Rejected Takeoff.

• Publications of The Korean Astronomical Society
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• v.30 no.2
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• pp.705-707
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• 2015

Astronomical observation is the beginning of scientific attitudes in the history of mankind. According to Indian tradition, there existed 18 early astronomical texts (siddhantas) composed by Surya, Pitamaha and many others. Varahamihira compiled five astronomical texts in a book named panchasiddhantika, which is now the link between early and later siddhantas. Indian scholars had no practice of writing their own names in their works, so, it is very difficult to identify them. Aryabhata is the first name noticed, in the book Aryabhatiya. After this point most astronomers and astro-writers wrote their names in their works. In this paper I have tried to analyze the works of astronomers like Aryabhata, Varahamihira, Brahmagupta, Bhaskara I, Vateswara, Sripati and Bhaskaracharya in a modern context and to obtain an account of Indian astronomical knowledge. Aryabhata is the first Indian astronomer who stated that the rising and setting of the Sun, the Moon and other heavenly bodies was due to the relative motion of the Earth caused by the rotation of the Earth about its own axis. He also estabished the 'yuga' theory (one Mahayuga = 432000 years). Varahamihira compiled panchasiddhantika and wrote Brihatsamhita. Brahmagupta is the most distinguished astronomer known to us. His two major works are i) Brahmasphutasiddhanta and ii) Khandkhadaka. Bhaskara I was the follower of Aryabhata. His three known works are Mahabhaskariya, Laghubhaskariya and Aryabhatiyabhasya. Vateswara follows Aryapaksha and Saurapaksha. His master work is Vateswarasiddhanta. Sripati, in his siddhantasekhara, gives the rules for determining the Moon's second inequality. Bhaskara II wrote the most comprehensive astronomical work in Indian astronomy. The result of these works is the account of the Indian astronomical heritage. These works are written in the Sanskrit language. A very few of these manuscripts have been translated in English but many are yet to be done. So, it is necessary to translate these astronomical texts into English with proper commentary for modern scholars. This paper will be helpful in this work.

• Korean Journal of Oriental Medicine
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• v.8 no.1
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• pp.1-15
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• 2002

$\ulcorner$Uibujeolok$\lrcorner$ is a part of ${\ulcorner}$gogeumdoseojibseong[古今圖書集成]${\lrcorner}$ edited in 1726 Chinese Ching[淸] Dynasty. It refers ${\ulcorner}$Uibu[醫部]${\lrcorner}$ included in ${\ulcorner}$Bakmulhwipyeon Yesuljeon-Ha[博物彙編 藝術典下], and is composed of 520 volumes with 141 chapters. Though the name of Eubujeolok is used in most printed editions, the proper name was ${\ulcorner}$Uibujibseong[醫部集成]${\lrcorner}$ according to the original text of the copper type printing. Each category consists of 13 parts including Commentary, Diagnosis, and Organs and Bowels etc. And each chapter follows identical structure with categories. This composition type of ${\ulcorner}$Uibujibseong${\lrcorner}$ is similar with that of ${\ulcorner}$Dong-uibogam[東醫寶鑑]${\lrcorner}$ which was published 130 years ahead, but different from those of clinical books which published in China until then. Unusually there is no chapter dealing with Chinese herbs and acupuncture.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.3
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• pp.37-48
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• 2019

This study, which starting from Yangyang Jukdo's topography formation and questioning revealed in landscape guide and landscape commentary board, is to sort out the characteristics of Jukdo natural landscape through literature research, field observation research and stakeholder interview as part of the proper recognition of Jokdo landscape and search for landscape resources, and pursued a review of nominations and criticism. The results of this study are summarized as follows. Yangyang Jukdo is an island named because it was full of blue bamboo. From before the first half of the 14th Century. to the middle of the 18th Century., there was a Gwanlan-pavilion to see the sea and the bamboo in the west. The time when the original island, the Jukdo, have been a land-tied island connected with the land by the tombolo formed by the erosion of the sand. It is located at the end of the 14th Century. and before the middle of the 18th Century. In Jukdo, colorful weathered terrains, coastal terrain, and structural terrain formed by long-time weathering are found. Among them, the type of weathering, the tafoni style and the gnamma style are the scenic landscapes with the key stories of legend and poetry that are brought to Jukdo. In addition, there are seven kinds of letters caved in the rocks in Jukdo. The rocks found on the coast, basketball cannons, shrines, and sutras are seen as shrouds based on a Taoist hermit motifs and style. In addition, it can be interred from the photography of "jeongssisejeog" that the souvenir of Jukdo was the family of Chogyejeong of mid 18th Century. In terms of observational geography and poetry, Jukdo has been handed down a great deal of missionary color with key motifs such as 'Jukdo-seongoo', 'Jukdo-Dolgooyoo', or 'Stone mortar of Taoist hermit' It is proved that the pearl which is called 'The stone of the Taoist hermit' is a porthole formed in a separate space rather than the topography of the geomorphology in terms of shape, size and function. Currently named Shun-tang is a product of the ridiculous 'naming' of interest. The present landscape guide and commentary is not only incompatible with the place of Jukdo, but also does not match the traditional cultural landscape. Future scenery information such as guide signs and commentary boards should be improved in the direction of positively highlighting the stories and motifs related to the present that are present in order to enhance the landscape identity of Yangyang Jukdo.

• The Journal of Korean Philosophical History
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• no.42
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• pp.71-103
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• 2014

Park Se-dang (朴世堂, 1629-1703) is a figure rebuked as a "disturbing enemy of the Confucian canon" (斯文亂賊), having composed the Namhwagyeong Joohaesanbo (南華經註解刪補), the sole commentary on every chapter of the Zhuangzi (莊子) in Joseon Dynasty. This article purports to articulate the significance of Park Se-dang's composition of the Namhwagyeong Joohaesanbo within Joseon Dynasty in the 17th century, through the comparison between him and Zhu Xi (朱熹, 1130-1200), the founder of Neo-Confucianism, the mainstream ideology of Joseon Dynasty, in their recognition of the Zhuangzi. Since Neo-Confucianism attained an absolute status as the canonical doctrine in Joseon Dynasty, the other thoughts, including the thoughts of the Laozi and the Zhuangzi, could not be discussed without their relationship with it. Park Se-dang's recognition of the Zhuangzi does not deviate far from Zhu Xi's recognition of it. While his composition of the Namhwagyeong Joohaesanbo might be said to have inherited and deepened Zhu Xi's recognition, it can also be seen as an attempt to escape from Neo-Confucianism in some aspects. Due to this complication, when the faction of the Noron (老論, a faction separated from the Seoin in the Joseon Dynasty, the hard-liners) rebuked him as a "disturbing enemy of the Confucian canon," they did not mention neither his Shinjoo Dodeokgyeong (新註道德經, New Commentary on the Laozi) nor his Namhwagyeong Joohaesanbo. In his Namhwagyeong Joohaesanbo, Park Se-dang does not think that the Zhuangzi is in diametrical opposition to Confucian thoughts. Firstly, he emphasizes that Zhuangzi faces the actual world with ultimately positive concern, though from a critical perspective. Secondly, he seeks common grounds between the thoughts of Zhuangzi and Confucians, proving that Zhuangzi emphasizes human relationships between father and son or between king and subject. Thirdly, he illuminates Zhuangzi's theory of human nature from a new perspective in order to reestablish Confucian theory of human nature. Fourthly, he attempts to apply Zhuangzi's thoughts in order to overcome contemporary consumptive political feuds, including the splits of political factions or the disputes about ritual proprieties (禮訟論爭). Park Se-dang's composition of Shinjoo Dodeokgyeong and Namhwagyeong Joohaesanbo was a complementary measure for Confucianism, his proper mainstay being Confucianism. He attempted to escape, not from Confucianism itself, but from the absolutism of Neo-Confucianism. In the 17th century Joseon Dynasty, when Neo-Confucianism was becoming dogmatized and absolutized as a canonical doctrine and a dominant ideology, Park Se-dang's composition of Namhwagyeong Joohaesanbo was a very innovative attempt, which shows that he established himself as a pioneer to escape Neo-Confucianism, having consolidated his own unique and progressive academic province, differentiating himself from traditional Confucian scholars in his objective.

• Journal of Educational Research in Mathematics
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• v.17 no.3
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• pp.271-293
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• 2007

Mathematics workbook is developed according to the amendment of the 7th national curriculum of mathematics. This study polled 300 national mathematics teachers in the elementary school, middle school, and high school to find out what they think in conjunction with the introduction of mathematics workbook such as needs for mathematics workbook, teachers' recognition about the system of mathematics textbook and workbook which are proper for lesson of achievement level and organization of mathematics workbook before using the mathematics workbook in school. As a results, mathematics teachers want the introduction of workbook because it helps students' self-regulated learning of mathematics and it is material very valuable for teachers to give lessons of achievement level. Also, we suggest the organization and contents of mathematics workbook on the base of our survey. Mathematics workbook has a lot of exercises assessing into the upper, intermediate, lower level in the contents, concepts of mathematics learning. It has the items developed with various problem solving methods and emphasis on performance tests, an essay-type examination and a periodical assessment. It has the problem posing items and the corner that helps students revise their mathematical errors and proposes useful, interesting mathematical activities and the commentary of a correct answer to questions at the tail of the book.

• (The)Study of the Eastern Classic
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• no.63
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• pp.115-140
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• 2016

This Articles intend to articulate The Tao(道) and Te(德) in Confucian analects("論語") Tao & Te is key concepts in Confucian analects. Tao is the Way of human life. Te is the incarnation of the Way. Jen(仁) is the universal Virtue of Human beings. Therefore, Confucius said, "If Human beingsa bo the Virtue proper to Humanity, what has to do with the Rites of propriety and Music?". Confucian's Human relationship is altruism(恕). Chu-Hsi and Dasan uphold and reestablished Tao & Te and Jen as maim concept of Confucius Analects. Jen is a practical methodology of Tao and Te. Confucius said, 'Let the will be seat on the path of duty.' 'Let every attainment in what is good be firmly grasped.' 'Let perfect Virtue be accord with. Tao(道), Te(德) and Jen(仁) is Trinity in Confucian Analects. Dasan redefined Tao and Te as his Commentary of Confucian analects("論語古今註"). Dasan interpreted that Te is achieved only by Human beings's behavior. But Chu-Hsi' Te is substance of Mind(心之體). He interpreted Te as an innate idea.

• The Journal of Art Theory & Practice
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• no.2
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• pp.27-48
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• 2004

Robert Rauschenberg's artistic career has often been regarded as having reached its culmination when the artist won the first prize at the 1964 Venice Biennale. With this victory, Rauschenberg triumphantly entered the pantheon of all-American artists and firmly secured his position in the history of American art. On the other hand, despite the artist's ongoing new experiments in his art, the seemingly precocious ripeness in his career has led the critical discourses on Rauschenberg's art to the artist's early works, most of which were done in the mid-1950s and the 1960s. The crux of Rauschenberg criticism lies not only in focusing on the artist's 50's and 60's works, but also in its large dismissal of the significance of the imagery that the artist employed in his works. As art historians Roger Cranshaw and Adrian Lewis point out, the critical discourse of Rauschenberg either focuses on the formalist concerns on the picture plane, or relies on the "culturalist" interpretation of Rauschenberg's imagery which emphasizes the artist's "Americanness." Recently, a group of art historians centered around October has applied Charles Sanders Peirce's semiotics as art historical methodology and illuminated the indexical aspects of Rauschenberg's work. The semantic inquiry into Rauschenberg's imagery has also been launched by some art historians who seek the clues in the artist's personal context. The first half of this essay will examine the previous criticism on Rauschenberg's art and the other half will discuss the artist's 1955 work Rebus, which I think intersects various critical concerns of Rauschenberg's work, and yet defies the closure of discourses in one direction. The categories of signs in the semiotics of Charles Sanders Peirce and the discourse of Jean-Francois Lyotard will be used in discussing the meanings of Rebus, not to search for the semantic readings of the work, hut to make an analogy in terms of the paradoxical structures of both the work and the theory. The definitions of rebus is as follows: Rebus 1. a representation or words or syllables by pictures of object or by symbols whose names resemble the intended words or syllables in sound; also: a riddle made up wholly or in part of such pictures or symbols. 2. a badge that suggests the name of the person to whom it belongs. Webster's Third New International Dictionary of the English Language Unabridged. Since its creation in 1955, Robert Rauschenberg's Rebus has been one of the most intriguing works in the artist's oeuvre. This monumental 'combine' painting($6feet{\times}10feet$ 10.5 inches) consists of three panels covered with fabric, paper, newspaper, and printed reproductions. On top of these, oil paints, pencil and crayon drawings connect each section into a whole. The layout of the images is overall horizontal. Starting from a torn election poster, which is partially read as "THAT REPRE," on the far left side of the painting. Rebus leads us to proceed from the left to the right, the typical direction of reading in a Western context. Along with its seemingly proper title. Rebus, the painting has triggered many art historians to seek some semantic readings of it. These art historians painstakingly reconstruct the iconography based on the artist's interviews, (auto)biography, and artistic context of his works. The interpretation of Rebus varies from a 'image-by-image' collation with a word to a more general commentary on Rauschenberg's work overall, such as a work that "bridges between art and life." Despite the title's allusion to the legitimate purpose of the painting as a decoding of the imagery into sound, Rebus, I argue, actually hinders a reading of it. By reading through Peirce to Rauschenberg, I will delve into the subtle anxiety between words and images in their works. And on this basis, I suggest Rauschenberg's strategy in playing Rebus is to hide the meaning of the imagery rather than to disclose it.