• Journal of the Korean Society of Costume
• /
• v.14
• /
• pp.63-73
• /
• 1990

The thought of three religious, Confucianism, Buddhism, and Taoism, had been the mainaxis of Korean spirit of the past. This study is centered on Buddhist and Taoist costume. There have been a lot of studies on Korean costume from many viewpoints. However, there have been few approaches to the inner !"ide of it. That is to say, the research on spiritual back-ground or religious correlation has not done yet. And especially, we are wholly lacking the studies on Taoist costume. In this dissertation, I investigate how they had come to wear Buddhist costume and how it trans, on the basis of related documentary records and existing remains. I also inquiry Taoist costume which was worn at Taoist ceremony in our country, with the help of Korean books and documents and of the sources of Packwoonkwan in China. In the case of Topobyunjeung in Korean costume, in particular, we can catch the source of it only after studying the religious side of Taoist costume and Buddhist costume. As revealed in the theory of Topobyunjeung in Ojuyunmoonja-ngsango by Lee, Kyu Kyung, even old masters and great Confucianists could not know whether Topo, the ordinary clothes of the Sadaeboo, originated from Taoist costume or Buddhist costume. There have been many opinions about the origin, but even now it is true that no one has made it clear. Therefore in this dissertatio I demonstrate mainly how Topo and Hakchangeui appeared in Korean costume through Taoist costume. It is said that Taoists, Buddhists, and literary men wore Topo, Chickchul, and Chickshin in Song dynasty of China. Topo was a clerical robe of Taoists and was also an ordinary clothes. Chick-chul was a clerical robe of Buddhists, and Chick-shin was worn by Zen priests in Won dynaty. Over the Po, Buddhist wore a large robe, namely Kasa, and Taoist wore Packhakchang like Wooeui, when they attended at the religious ceremony. And they regarded such manner of dressing as ceremonial full-dress attire. The style of Topo in China was Saryunggyogeo. The is th say that they put the black Yeon along Sajoo, which are Young, Soogoo, Keum, and Keo, and that they wore Sajodae around their waists so as to let the band down in front of them. Our existing type of Topo is that of Chickryung-gyoin. The characteristics of the type are its Koreum hung on the dress, no Yeon along Sajoo, and Soopok at the back of the dress. And when they put on the dress, they wear Saejodae around their waists. These characteristics considered, we can find the source of Topo from the Po of Chickshin among Buddhist costume. Other types of Topo are those that were transformed elegantly according to our national manners and customs in our country. So-called Wooeui in Chiness Taoism is Hakchang. Originally it was made by weaving for of cranes or other feathered birds. Its remarkable feature is the wide sleeves. Later they called such a robe with wide sleeves Hakchang. Our hakchangeui has Yeon along Sajoo and a belt around waist. We can guess that the features of Topo and wide-sleeved Hakchang mingled and turned into Hakchangeui. Or it might also be that Topa worn by Taoist was regarded as Hakchang and Topa which has Yeon along Sajoo was regarded as Hakchangeui in our country. Such type of Hakchang worn by Taoists was well shown in the Buddhist and Taoist paintings among "The Pictures of Hills, Waters, and Folks" in the latter half of the 16th century. In China Hakchang with a belt around waist could not be seen. Comparing our style of Hakchangeui with the Chinese style, we can recognize the former was similar to that of Chinese Topa. From this, we gather that Topa was regarded as Hakchang, Wooeui worn by Taoists, Ascetics and True Men in Korea. Furthermore I also gather that our Hakchangeui, which has Tongjeong, Koreurn and a belt around waist, was a transformed style in our own country. From the above, we can realize that in costume the three religions, Confucianism, Buddhism, and Taoism, cannot be treated separately although they are different each other in the essential thought. We have to recognize that Korean Costume was established under the closely connected correlation among the religions and that it was transfigured and accepted according to the cultural characteristics. This study is significant in that it is the first attempt to understand Korean costume through the religous approach, which has never been made in our Korean costume studies. We are demanded even more wide and profound investigation on the religious side of costume throughout the general field of costume studies.

• Korean Journal of Agricultural Science
• /
• v.10 no.2
• /
• pp.324-333
• /
• 1983

Modeling of longterm runoff is theoritically based on waterbalance analysis. Simplified equation of water balance with rainfall, evapotranspiration and soil moisture storage could be formulated into regression model with variables of rainfall, pan evaporation and previous-month streamflow. The hydrologic response of water shed could be represented lumpedly, qualitatively and deductively by regression coefficients of water-balance regression model. Characteristics of regression modeling of water-balance were summarized as follows; 1. Regression coefficient $b_1$ represents the rate of direct runoff component of precipitation. The bigger the drainage area, the less $b_1$ value. This means that there are more losses of interception, surface detension and transmission in the downstream watershed. 2. Regression coefficient $b_2$ represents the rate of baseflow due to changes of soil moisture storage. The bigger the drainage area and the milder the watershed slope, the bigger b, value. This means that there are more storage capacity of watershed in mild downstream watershed. 3. Regression coefficient $b_3$ represents the rate of watershed evaporation. This depends on the s oil type, soil coverage and soil moisture status. The bigger the drainage area, the bigger $b_3$ value. This means that there are more watershed evaporation loss since more storage of surface and subsurface water would be in down stream watershed. 4. It was possible to explain the seasonal variation of streamflow reasonably through regress ion coefficients. 5. Percentages of beta coefficients what is a relative measure of the importance of rainfall, evaporation and soil moisture storage to month streamflow are approximately 89%, 9% and 11% respectively.

• Journal of the korean academy of Pediatric Dentistry
• /
• v.36 no.4
• /
• pp.625-630
• /
• 2009

Root resorption of primary teeth usually occurs as the succeeding permanent teeth erupt, which induces differentiation of the hemopoietic cells into osteoclasts. Their root resorption pattern reflects the eruption path of the succeeding permanent teeth, and eventually the primary teeth shed as their succeeding permanent teeth erupt. Even when a permanent tooth germ is congenitally missing, root resorption of the corresponding primary tooth may still occur due to various factors, such as inflammation, traumatic occlusal force, and weakness of periodontium etc. Such congenital missing of permanent teeth is a commonly observed phenomenon in human be ing, and it often accompanies delayed retention of primary teeth. The etiologic factors for congenital missing in elude not only systemic diseases, but also local factors and human evolution process. In the radiographs of the cases in this report, the primary teeth without succeeding permanent teeth show pathologic root resorption. Root resorption progressed about 1/2~3/4 of the roots, and the surfaces of the resorption area were irregular. Considering high susceptibility of the periodontal ligament of primary teeth to root resorption, pathologic root resorption of primary teeth with delayed retention can be explained by the increased masticatory muscle force and abnormal occlusion developed during the mixed dentition. When the primary teeth without succeeding permanent teeth are lost, decision for space maintenance is required and long-term treatment plan for further prosthetic or orthodontic treatment should be establsihed.

• Asia-Pacific Journal of Business Venturing and Entrepreneurship
• /
• v.10 no.6
• /
• pp.15-26
• /
• 2015

The purpose of this study was to examine the area, theme and method of domestic articles on the successful establishment of venture companies, which were presented between 1998 and 2014, according to related basic classification criteria in an effort to shed light on the characteristics of these studies. It's basically meant to make a contribution to the development of research on the success of venture business and to be of practical use for the success of venture companies in our country. After related earlier studies were analyzed, 164 articles were collected, and 64 articles were selected from among them. The articles that were overlapped, not presented or not registered were excluded. The related studies had been conducted by different learned societies that were interested in the same research themes, and the studies were primarily led by the Korean Society of Business Venturing as of 2014, especially by Asia-Pacific Journal of Business Venturing and Entrepreneurship that was a journal published by this society. This society seemed to have taken the initiative in this field. There was a tendency that the related studies increased in number due to the shifts of modern industrial society and the changing policies of the government, as the number of the studies has been on the steady rise since 2012. In terms of method, quantitative research methods, especially descriptive studies, were prevailing. To step up the development of research into this field, a wide variety of research methods should be utilized in the future. As for the sphere of research, the characteristics of founders, strategic characteristics and environmental characteristics were mainly covered as the success factors of venture business. More diverse variables should be explored as well to make more advanced, extended research in the years to come. The findings of the study are expected to provide both theoretical and practical information on the establishment and success of venture business to make a contribution to the development of research.

• Cartoon and Animation Studies
• /
• s.43
• /
• pp.47-75
• /
• 2016

This study has analyzed the history of the subcontract animation in Korea that began with Golden Bat of TBC Animation Division in 1966 to 1980s and shed the light on the history of subcontract animation that has been processed over 30 years in Korean animation. For this purpose, through the outlined status of subcontract animation, such as, production company, production status, scale of industry and so forth, the status of the OEM industry then has been checked and it links the solidified background of animation into subcontract production industry with the situation in time for analysis. In addition, on the basis of the foregoing, it is intended to broaden the horizon of the history of animation through the analysis on new search for facilitating the creative animation by overcoming the issues and limits generated by the subcontract animation industry. 1970s was the time that the national objective is to advance heavy-chemical industry and export-led economic growth. From the late 1970s, the animation has been spot lighted as the main-stream export industry through the overseas subcontract orders for animation. Expansion of the subcontract animation production has been influenced from the national policies on public culture, dispersion of color TV, facilitation of video production market and other media changes of the time that led the decline of animation audiences in theaters, and another cause would be in lack of platform of broadcasting companies that avoided the independent animation production for its economic theory. The subcontract animation industry may have the positive evaluation in the aspect of expanding the animation environment, such as, structuring of animation infra, development of new human resources and etc. However, the technology-incentive 'production'-oriented advancement has created distorted structure in advancing the professional human resources due to the absence of 'pre-production' of planning and others as well as the insufficient perception on 'post production (post work)', and it was unable to formulate domestic market by re-investing the capital accumulated for OEM industry into the production of creative animation and it has been assessed as negative aspect. Animation is a cultural and spiritual product of a country. Therefore, the systematic support policy for the facilitation of the creative animation, such as, development of professional human resources, creation of outstanding work, formation of market to make the pre-circulation structure and so forth has to be sought. However, animation is an industry, but there is no perception that it is a cultural industry based on the creativeness, not hardware-oriented manufacturing business. Such a lack of recognition, there was no policies to make the market and facilitate the creative animation by the animation of Korea for this period through the long-term plan and investment for independent work production. Such an attempt is newly begun through diverse searches for protection and advancement of creative animation in Korea after 1990s.

• Korean journal of communication and information
• /
• v.57
• /
• pp.33-48
• /
• 2012

Over the last decades, the issue of work or labor has played a critical role in prevailing discourses to represent the changed economic reality. Aesthetic labor, cultural work, network labor, team-work and alike, have played a dazzling role to represent the emerging economic order, employing the word of labor. Certainly, it is not less than a part of a wide range of shifts in order to make capital work with more effect by making up a workable and governable subject. In this article, I try to examine shifts around the media work which has contributed to expand the new discourse of 'labor.' I will say that it is quite crucial for accounting for the reality of media work to shed light on moves to represent media work, and, among others, one to transform the subjectivity involved in it among others. Furthermore, it would be necessary to take a close look at the subjectivity of media work and its modification to deal with and eliminate the precariousness of media work. Saying about media work without paying any attention to heterogenous and various practices to compose a media work, one is forced to regard media work as the matter of economic and legal interests. In addition, it would bring about that the cultural political concerns of media work will be detached from critical sight of the media cultural studies. Referring to major studies around media work in critical media studies, cultural studies and political economy of communication, this article will briefly look into the arrangement of contentions around subjectivity of media work in South Korea. And it will try to suggest what cultural-political strategy we need to investigate, fighting against the hegemonic power to generate and regulate media work and its workers in precarious conditions. It does not intend to search the media work and its complicated realities in detail in South Korea. I wish that it would make a preliminary step to propose and elaborate the critical analysis of media work and its form of subjectivities.

• Journal of The Korean Association For Science Education
• /
• v.38 no.5
• /
• pp.705-720
• /
• 2018

The purpose of this study is to shed light on the meaning and value of interest (in Korean 'Jae-mi') in science education through literature analysis. Literature analyses were conducted on literature related to interest in various fields such as Korean language, psychology, philosophy, and education. Specifically, this study discussed the meaning of interest, the characteristics of the context of experiencing interest, the educational value of interest in science education, and the direction of science education to realize the value of interest. First, it was found that interest is an experience of emotional activation that can be felt through interaction with a specific object, and it is an emotional experience caused by the complex combination of various psychological factors, which is oriented sense, relationship, self, and object. Second, to understand the context of experience of interest, we conducted a topic modeling analysis with 1173 research articles related to interest. As a result of the analysis, it was confirmed that the context of interest is closely related with playfulness. And we addressed that this kind of playfulness is also found in science. Third, the educational values of interest in science education were discussed. In science education, fun is not only an instrumental value to induce science learning behavior, it is also one of the universal experiences that learners feel lively in science teaching-learning, and driving force of individual students' emotional development related to science. The students' active attitude to feel interest lead to creative thinking and action. Finally, we argued that the interest that should be aimed in science education should be active interest and experienced at trial and error, not passive interest induced by external stimuli. And science education culture should be encouraged to respect those who enjoy science. In particular, this study discussed the importance of each student's unique interest experience based on the philosophy of philosopher Deleuze (1976).

• Korean Journal of Heritage: History & Science
• /
• v.52 no.4
• /
• pp.56-77
• /
• 2019

Bi-Seok is a treasure trove of funeral rites and an important cultural asset that can shed light on the historical and social history of calligraphy, but research of the topic is still insignificant. In particular, research on the production method of Bi-Seok remains an unproven field. The production of Bi-Seok can be roughly divided into ma-jeong (refining stone), sculpture, and the Buk-chil (process of engraving letters) process. This article reveals some facts: First, performing ma-jeong to the Sang-Seok, Honyu-Seok, Bi-seok, which are known to be God's things. This process is needed because of the change in the perception of the Honyu-Seok due to the settlement and propagation of Confucian ceremonial rituals in the times of hardship in 1592 and 1636. As the crafting process of ma-jeong did not remain concrete, it was only possible to examine the manufacturing process of Bi-Seok through its materials and tools. Second, the rapid proliferation of Oh-Seok and Sa-jeo-chwi-yong (purchase of things made by private citizens) in the Yeongjo era has great importance in social and cultural history. When the Gang-Hwa-Seok of the commodity were exhausted, the Oh-Seok that was used by Sadebu (upper civil class) were used in the tomb of Jangneung, which made Oh-Seok popular among people. In particular, the use of Oh-Seok and the Ma-Jeong process could minimize chemical and physical damage. Third, the writing method of the Bi-seok is Buk-chil. After Buk-Chil of Song Si-Yeol was used on King Hyojong's tomb, the Buk-Chil process ( printing the letters on the back of the stone and rubbing them to make letters) became the most popular method in Korea and among other East Asian countries, and the fact that it was institutionalized to this scale was quite impressive. Buk-Chil became more sophisticated by using red ink rather than black ink due to the black color that results from Oh-Seok. Fourth, the writing method changes in the late Joseon Dynasty. Until the time of Yeongjo's regime, when inscribing, the depth of the angle was based on the thickness of the stroke, thus representing the shade. This technique, of course, did not occur at every Pyo-Seok or Shindobi, but was maintained by outstanding artisans belonging to government agencies. Therefore, in order to manufacture Bi-Seok, Suk-seok, YeonJeong, Ma-jeong, Jeong-Gan, ChodoSeoIp, Jung-Cho, Ip-gak, Gyo-Jeong, and Jang-Hwang, a process was needed to make one final product. Although all of these methods serve the same purpose of paying respects and propagandizing the great work of deceased persons, through this analysis, it was possible to see the whole process of Pyo-Seok based upon the division of techniques and the collaboration of the craftsmen.

• Korean Journal of Heritage: History & Science
• /
• v.52 no.4
• /
• pp.154-169
• /
• 2019

This study attempts to shed light on the nature and purpose of the small melon-shaped celadon ewer that was found in the Sinan shipwreck, focusing on the fact that it has the shape of a ewer, yet could not really have served as a tea or liquor utensil given its small size and unusual shape. We analyzed the shape-related characteristics of other melon-shaped celadon ewers as well as this one; checked the use of similar items unearthed in China and Japan; examined the relevant literature, materials, and paintings; and arrived at the following conclusion. First, it was found that the small melon-shaped celadon ewer was one of a type that was first made in the Southern Song Period in China and continued to be made until the Yuan Period. The artifact displays some differences from many similar relics found in the same shipwreck, particularly its spout, lid, and handle. Second, research on the tea ceremonies and types of liquors prevalent during the Song and Yuan Periods of China, as well as the appearance of this ewer, suggest that it was unsuitable for use as a liquor utensil. Third, we looked at the relevant literature records, paintings, and relics unearthed in China and Japan in an attempt to determine its actual purpose. It is well known that the literati had a deep affection for stationery items, particularly water droppers, which were made in a variety of shapes during the Song Period of China and thereafter. According to literature dating from the Song and Ming Periods, it appears that melon- or ewer-shaped water droppers were used. Certain paintings from the Ming Period depict a small ewer, along with a water dropper, as a stationery item. Looking at paintings dating from medieval Japan, small ewer-shaped objects do not figure among the tea and liquor utensils depicted, whereas kettles with handles and hot water bottles do. Objects known as yeonjeok (a water dropper) were included among the items said to have been made in pottery kilns during medieval Japan. However, a book on flower arrangement of Japan dating from the fifteenth century shows a small ewer, with flowers in it, among the stationery items placed on a desk. Based on this detail, it is concluded that the small melon-shaped celadon ewer from the Sinan shipwreck might have been used as a flower bottle as well as a stationery item.

• Journal of Gifted/Talented Education
• /
• v.19 no.3
• /
• pp.603-646
• /
• 2009

This paper explores in depth Gaston Bachelard's theory of imagination so as to establish the philosophical bases of creativity. While he had begun his studies on imagination to eliminate unreliable subjectivity hampering objectivity of philosophy of science, he was fascinated to become a philosopher of imagination by its unlimited power. Since his theory of imagination marked a prominent spot in the history of Western idea, this paper will seek its significant implications that will also shed light on the philosophical grounds of creativity. The best way to approach his theory is to differentiate whether imagination is the power of forming images or that of transforming them. If not misguided by surface simplicity of the aforementioned differentiation, it will be revealed that it has accrued strata in the history of Western idea. The power of forming images is related to theory of mimesis or of representation, and to ocularcentric and logo-centric structures. Bachelard strongly opposes to the theory of imagination as power of forming images, since, if it is so, its expansion and development are not possible. He thereby constructs the theory of imagination as power of transforming images. The force of movement lies at the core of his theory. Imagination as an ability to intuit movement is directly related to the problem of change in the history of Western idea. If an entity is incessantly changes itself, it becomes a crucial role of imagination to capture the force perse in the perpetual movement without distortedly and abruptly fixing it at a still point of time and space. Bachelard criticizes such a method that makes movement a controllable entity consisting of partitioned moments of space; instead, he constructs theory of imagination that reveals the true power of indispensable movement. Furthermore, it will be revealed that Bachelard's theory has more affinities with Kantian imagination and reflective judgement of aesthetics than the past researches on Bachelard showed. This paper, by means of the above investigation, will transcend the superficiality of defining what are Bachelard's formal, material, and dynamic imaginations; simultaneously, it will bear philosophical conditions of possibility that makes us experience imagination fully. These conditions also become the philosophical foundations of creativity. It will draw to a provisional close its imaginative journey of everlasting movement by making ontological and ethical dimensions of imagination and creativity.