• Journal of Korean Classical Literature and Education
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• no.33
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• pp.121-152
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• 2016

The purpose of this study is to illustrate the history of the Cheonsu-Temple天壽寺 and to describe the echo verse poem trend with regard to 'Waiting'待人 and why it is beautiful. The Cheonsu-Temple was located in the outskirts of Gaesung開城, the capital city during the Corea高麗 Dynasty. However, the temple was destroyed when the dynasty collapsed. Cheonsu-Station天壽院 was built amidst the temple ruins, as the temple was an important traffic point. The Cheonsu-Pavilion天水亭 was built in 1476 by Yi-Ye李芮 in the station's neighborhood. The station and the pavilion were completely ruined during the 17th century. Many poets visited the Cheonsu-Temple and composed poems in the latter part of the Corea Dynasty. 'Waiting'待人, written by Choi-Sarip崔斯立, -is the most famous work. Following this work, many poets composed echo verse poems 'Waiting' work that represented the anxiety of waiting for an old friend in front of the Cheonsu-Temple. The following is a highlighted verse: So many people who look like the old friend come to me, but it turned out no one was the man. This work is very picturesque. Over twenty echo verse poems 'Waiting' are categorized in three periods. They compared the "present" to the past by using the Zhenglingwei丁令威 origin from the former Joseon朝鮮 period. In the middle of Joseon period, Jungjong中宗 visited Cheonsu-Station and composed an echo verse poem 'Waiting'. The official literaries also composed poems there. In their works, they presented the collapse of the Corea Dynasty as inevitable and the construction of Joseon Dynasty as something reasonable. Cheonsu-Station was ruined in 17th century, followed after by the ruin of the Cheonsu-Pavilion. It appears that the echo verse poems to 'Waiting' in the latter Joseon period represented the ruin of the Cheonsu-Temple, the Cheonsu-Station, and the Cheonsu-Pavilion.

• The Journal of the Korea Contents Association
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• v.20 no.10
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• pp.57-75
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• 2020

This study identifies the symbolism of cross symptoms of different classes during the modernization process based on the imagery of and , both of which are Korean films made in the same era of the 1960s. The study referred to a number of Korean family movie films in the 1960s, in particular and , which are notably different in ways of expression and in social class of the subject matter, and identifies how the films express the mixed aspects of the cross modernization period. The film uses a grotesque expressionist method to voyeuristically look into a newly emerging middle class family, and the deconstructive aspect of a family unit whose excessive desire leads to its own ruin; thus, the film presents a new perspective into the various social issues that emerge in the near future. In contrast, engages realistic depictions to describe in detail the deep conflict of pain and hope within the hardships of life from the urban poor through a deep family conflict. Ultimately, the two films expose the various social issues through the familiar and the unfamiliar that appear from the mixed aspects of the cross modernization period, in other words, the conflicting images of the traditional and the modern.

• Korean Business Review
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• v.22 no.2
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• pp.35-59
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• 2009

The drive for sustainable economic growth for the sub Saharan African region continues to occupy a central place in the debate of how to move the region forward. For decades, governments, policy makers, Non Governmental Organizations and world bodies including the World Bank, IMF, ADB, USIAD and the European Union have engaged policies aimed at bringing solutions to the horrendous poverty crisis to nations of this region. Despite these noble actions and intents, poverty and underdevelopment has prevailed in countries of the region such as Cameroon. Cameroon is mainly an agricultural economy with its products facing declining prices and competition from synthetic substitutes resulting to deficits of balance of trades. This has resulted to borrowing and debt. At the same time, it is a country blessed with an abundance of tourist resources. From the literature review, tourism potency to economic growth is overwhelming. This research was motivated by the quest to find answers to questions such as; why development policies during the last two decades not succeeded in achieving Economic growth in countries of this region particularly Cameroon and why the country/ region still beleaguered by poverty and debt despite haven implemented various economic development plans. In recent years, the role of tourism has become increasingly recognized in its role of economic growth and poverty alleviation. This study attempts to unveil tourism's contribution to economic growth and to push for Tourism development as an al ternative economic growth alternative to Cameroon. Previous economic policies have ignored to tie economic growth within the country's socio-economic, geo-political and environmental circumstances. Findings from this work suggest that any sound economic policy can not afford to ignore the country's stock of both human and fiscal capital. Findings presented herewith validate Tourism as a feasible indigenous economic growth alternative that helps bringing employment, capital investment and protect the environmental ruin.

• The Journal of Art Theory & Practice
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• no.13
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• pp.35-71
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• 2012

The purpose of this essay is to examine the responses of artists on nuclear experiences through an analysis of the nuclear images represented in contemporary Japanese art. Japan has previously as twice experienced nuclear disaster in 20th century. The first atomic bombs were dropped in 1945 as well as the 5th Fukuryumaru, Japanese pelagic fishing boat, exposed by hydrogen bomb test operated by the US in 1954 nearby Bikini atoll. Due to Tsunami taken place by the great earthquake that caused the meltdown of Fukushima Nuclear Power Plant in March 2010, Japan is being experienced a nuclear disaster again. Despite practical experiences, comtemporary Japanese art has avoided the subject of nuclear disasters since the end of the Asia-Pacific War for a variety of reasons. Firstly, GHQ prohibited to record or depict the terrible effect of atomic bomb until 1946. Secondly, Japanese government has tried to sweep the affair under the carpet quite a while a fact of nuclear damage to their people. Because Japan has produced numerous war record paintings during the Second World War, in the aftermath of the defeated war, most of Japanese artists thought that dealing with politics, economics, and social subject was irrelevant to art as well as style of amateur in order to erase their melancholic memory on it. In addition, silence that was intended to inhibit victims of nuclear disasters from being provoked psychologically has continued the oblivion on nuclear disasters. For these reasons, to speak on nuclear bombs has been a kind of taboo in Japan. However, shortly after the atomic bomb dropped on Hiroshima, the artist couple Iri and Toshi Maruki visited to ruin site as a volunteer for Victim Relief. They portrayed the horrible scenes of the legacy of nuclear bomb since 1950 based on their observation. Under the condition of rapid economical growth in 1960s and 1970s, Japanese subculture such as comics, TV animations, plastic model, and games produced a variety of post apocalyptic images recalling the war between the USA and Japanese militarism, and battle simulation based on nuclear energy. While having grown up watching subculture emerged as Japan Neo-Pop in 1990s, New generation appreciate atomic images such as mushroom cloud which symbolizes atomic bomb of Hiroshima. Takashi Murakami and other Neo-Pop artists appropriate mushroom cloud image in their work. Murakami curated three exhibitions including and persists in superflat and infantilism as an evidence in order to analyze contemporary Japanese society. However, his concept, which is based on atomic bomb radiation exposure experience only claimed on damage and sacrifice, does not reflect Japan as the harmer. Japan has been constructing nuclear power plants since 1954 in the same year when the 5th Fukuryumaru has exposed until the meltdown of Fukushima Nuclear Plant although took place of nuclear radiation exposures of Three Mile and Chernobyl. Due to the exploding of Fukushima Nuclear Power Plant, Japan reconsiders the danger of nuclear disaster. In conclusion, the purpose of this paper may be found that the sense of victim which flowed in contemporary art is able to inquire into the response of artist on the subject of nuclear as well as the relationship between society, politics, culture, and modern history of Japan and international political situation.

• Journal of Conservation Science
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• v.29 no.3
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• pp.279-286
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• 2013

It is characterized and classified as the type of red brown glass beads to compare the chemical composition and manufacturing technique on the 141 samples in 12 sites of the Three Kingdom Period analyzed until now. It can be divided into three types according to the chemical composition of stabilizers(CaO & $Al_2O_3$) and soda raw materials(MgO & $K_2O$) on the red brown glass beads except one sample. Type I of high alumina glass is identified as the most common types that is 78.6 % of the distribution ratio at analytical samples and is excavated the most from ruin sites. In contrast, type II, 13.6 % of distribution ratio at analytical samples, is about 5 % CaO and $Al_2O_3$, MgO and $K_2O$ at around 1.5 % is similar to the composition of plant ash glass. Type III is that the content of CaO is higher than $Al_2O_3$ and the content of MgO and $K_2O$ is below 1.5 %. It is the same as the composition of natron glass and its share is the lowest as 7.9 %. Of these, type III is divided into two types according to the content of MgO and $K_2O$. It is identified that manufacturing technique of type I and II is drawing and type III is casting method with microscopic investigations. Type II and III is estimated that raw materials is different because is confirmed in the majority of ruins in spite of the fact that distribution ratio is very low. So, red brown glass beads distributed in Korea Peninsula are divided into three types of glass culture.

• Geophysics and Geophysical Exploration
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• v.12 no.1
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• pp.69-76
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• 2009

We report an implementation of the Ground Penetrating Radar (GPR) survey at a site that corresponds to a ruined castle. The objective of the survey was to characterise buried archaeological structures such as walls and tiles in Van Khan Tooril's Ruin, Mongolia, by 2D and 3D GPR techniques. GPR datasets were acquired in an area 10mby 9 m, with 10 cm line spacing. Two datasets were collected, using GPR with 500MHz and 800MHz frequency antennas. In this paper, we report the use of instantaneous parameters to detect archaeological targets such as tile, brick, and masonry by polarimetric GPR. Radar polarimetry is an advanced technology for extraction of target scattering characteristics. It gives us much more information about the size, shape, orientation, and surface condition of radar targets. We focused our interpretation on the strongest reflections. The image is enhanced by the use of instantaneous parameters. Judging by the shape and the width of the reflections, it is clear that moderate to high intensity response in instantaneous amplitude corresponds to brick and tiles. The instantaneous phase map gave information about the location of the targets, which appeared as discontinuities in the signal. In order to increase our ability to interpret these archaeological targets, we compared the GPR datasets acquired in two orthogonal survey directions. A good correlation is observed for the alignments of reflections when we compare the two datasets. However, more reflections appear in the north-south survey direction than in the west-east direction. This is due to the electric field orientation, which is in the horizontal plane for north-south survey directions and the horizontally polarised component of the backscattered high energy is recorded.

• Journal of the Korean Society for Library and Information Science
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• v.50 no.1
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• pp.395-416
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• 2016

This study analyzes periodic phenomena on publication and characteristics of Buddhist scriptures engraved on woodblock in temples located in Hwanghae Province during the Joseon Dynasty period in bibliographic approach. There are total 85 Buddhist scriptures published in Hwanghae Province, 5 scriptures among them including Yonggamsugyeong appear to be engraved on woodblock only in temples in Hwanghae Province. They, published in 64 printings during the early days of the Joseon Dynasty, occupy 75% of total Buddhist scriptures, and are analyzed to be intensively published with the support of royal family members such as Queen Munjeong in the reign of King Myeongjong. However, as the publication displayed a sharply declining tendency in the late Joseon period after the Japanese invasion, it is understood to be identical with historical fact that the people's livelihood in Hwanghae Province closed to ruin through invasions from Japan and Manchuria. In addition, the analysis on characteristics of these Buddhist scriptures by subject indicates that over 80% of them are generally sacred books and dogmas. In fact, woodblock engraving works in temples emphasize on the duty of an engraver, and many engravers are investigated that they engraved only 2 to 3 Buddhist scriptures in temples located in Hwanghae Province. Doseong and Suyeon can be regarded as remarkable itinerant monks as they were appeared to engrave Buddhist scriptures in not only Hwanghae Province and also other regions by moving from one place to another. This study is expected to be meaningful as a paper that can be used on future studies to compare Buddhist scriptures engraved on woodblock in other regions in North Korea.

• Journal of the Korean Society of Food Culture
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• v.4 no.1
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• pp.71-82
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• 1989

While ruling Chosun, with a view to making Chosun the primary supplier of food, Japan made the peasantry of Chosun go to ruin by leaving land from them through land enterprises, and the projects of increasing rice production. At the same time, Japan formed the higher classes comprising pro-Japanese capitalists, landlords and intellectuals, and protected them in order to carry out her colonial policies. Naturally there came into being a great gulf between the minority of high society and the majority of the poor in Chosun. As there was a great difference in food life between the two, I'm going to examine the literature of those days to grasp exactly the condition of their food intake. As for the staple food, out of thirteen provinces in Chosun, 13% lived on only rice and 27% on other minor cereals with no rice. As for the subsidiary food, about thirty percents did not take any animal protein. The examination of intake of nutrition by classes shows that the higher and middle classes took the necessary amount of calorie and protein and that the component ratio of calorie was comparatively properly distributed. The lower classes are defined as those whose monthly income was less than 100 won and the peasantry in general. And again the peasantry are classified into three-high, middle and low-according to their farming conditions. The tenant farmers in Kyeongguido and the peasants of Darli community took enough amount of calorie and protein, but much smaller amount of animal protein. Fire-field farmers led not less miserable food intake than the extremely poor peasants. They seldom lived on rice. Potatoes, oats and millets were their staple food. Lastly, Engel's coefficient for the Tomack-min (the residents in mud huts) who were among the three extremely poor classes, was 73.3%, which was much higher than that of the lower classes in then Japan. Rationed rice and barley were their staple food but the rationed amount was not sufficient to satisfy needs of physical labor. In conclusion, during the period of Japanese ruling of Chosun, the minority of higher and middle classes in Chosun generally took sufficient amount of nutrient, while the status of food intake with poor peasants, fire-field farmers and Tomack-min was extremely miserable.

• Journal of Environmental Science International
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• v.3 no.2
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• pp.165-175
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• 1994

An emergy analysis of the main energy flows driving the economy of humans and life support systems was made including environmental energies, fuels, and imports, all expressed as solar emjoules. The total emergy use (4, 373 E20 sej/yr) is 90 per cent from imported sources, fuels and goods and services. The emergy flows from the environment are modest, because the share of global inputs such as ruin and geological uplift flux is modest. Consequently, the ratio of outside investment to attracting natural resources is already large, like other industrialized countries. The population level is already in excess of carrying capacity. The emergy use per person in Korea indicates a moderate emergy standard of living, even though the indigenous resource is very poor. If the present economy were running entirely on stored reserves of fuels, soils, woods, etc., it would last about 2 years. Its carrying capacity for steady state on its renewable sources is only 3.3 million people, compared to 43.3 million in 1991. Continued availability of foreign oil at a favorable balance of emergy trade, currently about 7 to 1 net emergy, is the basis for present economic activity and must decrease as the net emergy of foreign oil purchased goes down. Close economic integration with Middle East may determine how long this is possible in the future.

• Cartoon and Animation Studies
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• s.27
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• pp.1-30
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• 2012

Oshii Mamoru attempts to project the perception of reality about his own modern world as it is through animation. The precedent studies on Oshii Mamoru put their focus on the point that his works have a tendency to represent the devastation of reality as the image of 'a ruin.' In addition, they gave an impression that Oshii Mamoru's animation has gradually developed to expose the 'realistic taste[beauty]' from the design perspective. However, this study is going to put its focus on the point that Mamoru's works were created as an attempt at finding the subversive possibility of the suppressed modern world under the modern capitalism in the aspect of 'everyday life' of the modern world. First, for its analytical purpose, this study intends to do that by dividing the work into the three layers such as space, body and everyday life. In Chapter II, this study, in relation with the issue of 'space' representation, analyzed the space in into the modern, mechanical, compactly capitalized space and also the space just like a closed circuit having the nature of 'repetition.' In Chapter III, this analyzed that suggests the body moving freely between a human named 'Kildren' and the inhuman from the aspect of character's body, through which Mamoru represents the capitalized, reified body of the modern world. In addition, this analyzed the extreme anxiety facing the body into the reflection of the phenomena of 'anxiety' and 'placelessness' consequent on the labor flexibility of the modern world. In Chapter IV, this study, on the basis of the analysis of layers of space & body, analyzed that the 'everyday life' of the modern world was represented in the respects of 'memory' and 'habit', and in the aspects of Mise-en-Sc$\grave{e}$ne, design and direction. In Chapter V, this rooted out the fact that Mamoru suggested the attempt at 'appropriation' based on his perception of reality about such a modern world. Such a finding includes unearthing the fact that Oshii Mamoru's work is raising a question about how to desert and appropriate the modern space. In conclusion of Chapter VI, this drew the conclusion that Oshii Mamoru's work represented the layer of 'everyday life' while dealing with the post-modern themes shown by the existing modern SF genre, provided the 'window' through which people can perceive the 'modern world radically by recommending an attempt at 'appropriation', and blazed a trail in a new realm of creation for animations.