• Journal of the Korea Academia-Industrial cooperation Society
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• v.16 no.2
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• pp.1092-1100
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• 2015

This thesis is a part of a case study conducted in order to understand the trends of the 16th~17th century Cheongju region bigwigs, and has examined the life and academic stream of Seogye Deuk-Yoon LEE (1553-1630) focused on the previous study, "The Great Family Genealogy of Ikjaegong of the Gyeongju LEE Family". Seogye Deuk-Yoon LEE learned from his father Seomgye Jam LEE, and GiSEO, Ji-Hwa PARK from an early age, and based the basic orientation of his studies on one's moral and religious self one's moral and religious self'. This is how he became to emphasize "Sohak" (an introductory book of Confucianism for children), and he made an effort to realize the world of Neo-Confucianism by distributing the 'YEO's Hyangyak(Lue-shih-hsiang-yueeh : autonomic regulations of the district areas)' published on "Sohak". Furthermore, he made great effort in education of the Cheongju by regarding it as his own mission to teach young scholars, continuing on the footsteps of his father. Considering this, Seogye was not only a Confucian scholar that devoted himself to 'Sugi(moral training of himself', but was also a practical scholar that committed his sense of social responsibility in ' teaching' and 'governing the people, who greatly affected the academic world of the regional bigwigs of the Cheongju during the 17th century. Furthermore, Deuk-Yoon LEE was a member of the 'Nangseongpalhyeon(eight wise men of the Cheongju region) together with his disciple Deok-soo LEE, who performed a core role in establishing the 'Gihohakpa(Capital and Chungcheong province School)' and 'Hoseosarim(forest of scholars in Chungcheong province)' of the Cheongju region. As a main figure in establishing the Sinhang Confucian academy, he prepared the socio-economic basis for the 'Gihohakpa' to take place in the Cheongju, and by academically associating with Sagye Jang-Seng Kim without regarding their conflicting parties, he became the bridge in allowing his disciple, Deok-Soo LEE to associate with the academic stream and the 'Gihohakpa'. Through such roles, he allowed the relatively easy establishment of the 'Gihohakpa' and 'Hoseosarim', which continued to Jang-Seng KIM and Si-Yeol SONG, in order to prepare the basis and establish the strength of its basis in the Cheongju region from the late 17th century.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.1
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• pp.39-45
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• 2012

The purpose of this research is to look into the tea-drinking pictures of the Joseon Dynasty in order to find the unique landscape traits of tea-drinking spaces of the era. A number of tea-drinking pictures were drawn during the Joseon Dynasty period and in most cases, the names of the painters are stated as well. These factors make tea-drinking pictures a seminal source that illustrates the landscape traits of the last Dynasty of Korea. For those pictures contain the main components of landscape such as the tastes of 'Yangban'(noblemen), natural characters, and space traits. Since tea was first introduced in Korea during the Three Kingdom Period, tea-drinking culture has a long history in the country. There have been various studies about tea and many study results have been presented. Few research, however, have looked into tea culture from the point of landscape. Under the premise that tea-drinking pictures of Joseon Dynasty can be a cultural code that explains Korean tea-drinking culture, this thesis looked into those pictures from various angles and analyzed them in order to elucidate the attributes of scenery components of tea-drinking spaces that Koreans have forged and developed, and following results could be found. The Landscape components illustrated in tea-drinking pictures of the Joseon Dynasty can be divided into the element of architecture, the element of water, stone and plants. First, for the element of architecture, it was found that tea-drinking took place in anywhere in Korea without specific tea-drinking buildings or gardens unlike the case of Japan. This has to do with traits of Koreans who were not bound by formality and truly loved nature. Second, for the element of water, water contributed to making harmonious landscape. Third, for the element of stone, it was clear that stone had a practical role in providing comfortable place for lying and enjoying tea-drinking and scenery. Fourth, plants made elegant figure in the landscape and were planted in accordance with their inner meaning. Tea-drinking pictures of the Joseon Dynasty elucidates that when it comes to tea-drinking, Koreans were not obsessed with a formality of tea-drinking, or a set of tea ceremony, which is profoundly different with Japanese, and Koreans did not put a limit on a place for tea-drinking because for Koreans any place they sat could be a great place for tea-drinking.

• Journal of Sericultural and Entomological Science
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• v.45 no.1
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• pp.34-45
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• 2003

Silk was treated with calcium hydroxide for degumming at different treatment times, temperatures and Ca(OH)$_2$ concentration to optimize degumming conditions in this thesis. After degumming, soluble and insoluble sericin were seperated and then the soluble sericin was characterized by measuring the average degree of polymerization (D.P.), lysinoalanine (LAL) content, DSC, and by amino acid analysis. And degummed silk fibroin was characterized by measuring tenacity and SEM. Degumming loss was increased by increasing the treatment time and temperature until about 30 minutes. After then, a slight difference was found along with treatment times at the Ca(OH)$_2$ concentrations of 0.07% and 0.1% solutions. After degumming, insoluble sericin ratio on degumming solution was increased by increasing treatment temperature at Ca(OH)$_2$ 0.04% solution. At the concentration Ca(OH)$_2$ of 0.07%, a soluble ratio was almost 100% regardless of treatment time and temperature. At the beginning of treatment, insoluble ratio was high at Ca(OH)$_2$ 0.1% solution but it was decreased by increasing treatment time. At the Ca(OH)$_2$ concentration of 0.04%, D.P. of soluble sericin was maintained as a constant value of 10 at 100$^{\circ}C$ although treatment time was increased. However, at 80$^{\circ}C$ and 90$^{\circ}C$, it was hard to prepare a soluble sericin having a constant D.P. by increasing treatment time. At the Ca(OH)$_2$ concentration of 0.07%, D.P. was almost 10 irrespective of treatment temperature and time. Soluble sericins with high D.P. of 20∼30 were obtained at 0.1% and 100$^{\circ}C$. LAL was not detected in soluble sericin. As the results of amino acid analysis, it showed that Ca(OH)$_2$ degumming reduced the contents of hydroxy amino acids like Ser., Thr. and Tyr. In DSC analysis of soluble sericin, endothermic peak by thermal deformation and pyrolysis showed at 189$^{\circ}C$ and at 299$^{\circ}C$, respectively. The tenacities of degummed silk were 15∼30% lower than that of raw silk. And it was decreased with increasing treatment time. From the morphological study, the thickness of degummed silk fibroin became thinner by increasing degumming loss. The roughness of a silk fibroin surface was appeared as treatment concentration was increased.

• Water for future
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• v.5 no.1
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• pp.27-36
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• 1972

This thesis is the study of the rainfall probability depth in the major areas of Korea, such as Seoul, Pusan and Taegu. The purpose of the paper is to analyze the rainfall in connection with the safe planning of the hydraulic structures and with the project life. The methodology used in this paper is the statistical treatment of the rainfall data in the above three areas. The scheme of the paper is the following. 1. The complementation of the rainfall data We tried to select the maximm values among the values gained by the three methods: Fourier Series Method, Trend Diagram Method and Mean Value Method. By the selection of the maximum values we tried to complement the rainfall data lacking in order to prevent calamities. 2. The statistical treatment of the data The data are ordered by the small numbers, transformed into log, $\sqrt{}, \sqrt[3]{}, \sqrt[4], and$\sqrt[5], and calculated their statistical values through the electronic computer. 3. The examination of the distribution types and the determination of the optimum distibution types By the $x^2-Test$ the distribution types of rainfall data are examined, and rejected some part of the data in order to seek the normal rainfall distribution types. In this way, the optimum distribution types are determined. 4. The computation of rainfall probability depth in the safety project life We tried to study the interrelation between the return period and the safety project life, and to present the rainfall probability depth of the safety project life. In conclusion we set up the optimum distribution types of the rainfall depths, formulated the optimum distributions, and presented the chart of the rainfall probability depth about the factor of safety and the project life.ct life.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.4
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• pp.22-32
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• 2013

This study aimed to reveal the establishment process and design concept of KoKwan park built in modern Busan, which is called three major park includes YongDuSan park and TaeJeong Park, by analyzing BusanIlbo published modern period in Busan and 'Busan' published modern Busan prefecture. In KoKwan, there was installed DuMoPo Waegwan. The Japanese residents built the cemetery and memorial stone for Tsunohe Heigo's sudden death in the KoKwan hill, who was an envoy dispatched by Tsusima prefecture, in order to enhance awareness of the old territory DuMoPo Waegwan. In 1916, the Japanese residents repaired ruined the place by rasing funds and donated to Busan prefecture. Busan prefecture went public this place as a park. Meanwhile, In order to commemorate the 50th anniversary of the opening of Busan port, Oike Chusuke's memorial statue was built in private house neiboring KoKwan park. He became the richest person in Busan while engaged in commerce and industry since he come to the Busan the year before the opening of Busan port. He donate garden site includes his statue and 10,000 Won for KoKwan park construction expenses to Busan prefecture Busan prefecture invite Oya Rejo, who was Osaka-Hu's landscape designer, to design the KoKwan park. He visited Busan and survey KoKwan park and other Busan's park and submitted the plan to Busan prefecture. His Plan for KoKwan includes shrine and Oike's statue, arboretum and greenhouses, children's play garden, etc. Oya's design concept of KoKwan park was analyzed as follows: the juxtaposition of the sacred and secular, the succession of present landscape context, the complement of parks content, the tool of nation-state formation. KoKwan park was completed with cost 20,000 won, insufficient budget compared with Oya's estimated amount. However, in this thesis, it was not cleared whether Busan prefecture built the park as it was. In 1945, after the independence, KoKwan Park was destroyed due to build Dong-gu Office, houses. The remained subjects from this study are to clarify the process the destruction of the park.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.4
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• pp.1-13
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• 2017

This thesis aims to research the original landscape of an area in Chirwon by comparing and interpreting the current and the former landscape of the time around 1860, in which was created. Inside the painting, MuGi-YeonDang(舞沂蓮塘), its nearby garden facilities and landscape are described. The conclusions of the research are as follows. Around the inner garden(內園) called Gukdam(菊潭), core spaces of Mugi-YeonDang were Hahwanjeong(何換亭) and Pungyongnu(風浴樓). After 1971, Chunghyosa(忠孝祠), Yeongjeonggak(影幀閣) which was built as inheritance of Giyangseowon (沂陽書院), and other buildings were added. On the opposite of Hahwanjeong, there is a designed pond inside Gukdam, in which three pieces of bizarre stones and colorful flower plants and trees reside. In the middle of the pond, there is an center island(中島), constructed with Bonghwangseok(鳳凰石) and Napduseok(衲頭石). Two different kinds of trees are settled on top of the stones, and one of them is identified as a maple. In the external scenery(外境), Jakdaesan Mountain and Cheonjusan Mountain are located at the upper part of Mugi-Yeondang, and Bibo Forest(裨補林), which does not exist anymore, was located at the lower part of it. A notable achievement in own research was to discover the Ju family's graveyard(朱氏墓群) consisted of more than 10 murals at the lower part of Mt. Jakdaesan in the outer space and the remains of 'Byeoreop(別業) Yuhoejeong(有懷亭)' at the nearby Sanjeong-ri(山亭里) area, which was the Ju family's gravesite(Seonsan, 先山). The discovered remains showed the presence of a square pond(方塘) and an island in the center of it(中島) in the form of Seokgasan(an artificial mountain made with stones), a stone monument called Mangchudae(望楸臺), etc. The Seokgasan was consisted of processed natural stones, and layers of the stones were piled up for it. On the side of the layered stones, 'Gyeongam(敬嵒)' and 'Sesim(洗心)' are engraved. Especially, Gyeongja(letter Gyeong, 敬字) is a copy of the Gyeongja Rock(敬字岩) of Sosu-Seowon(紹修書院), which is a symbolic garden language mutually used in the signboards of Pungyongnu and Musansa(武山祠), a place built to enshrine Ju, Sebung(周世鵬). Through the written names of the building found in , it can be assumed that the name of the square pond with Seokgasan was Taehwaji or Jeongwudang, and the name of the Seokgasan was Sogeumgang(小金剛) or Sobangjang(小方丈). The names correspond to the names of the Seokgasan of Gukdam, which was Yangsimdae(養心臺) and Bongnaesan(蓬萊山). By means of the corresponding names, it can be inferred that the relations between the spaces were intended. was originally created as 'a manor painting(莊園圖)', led by the 15th generation of the Ju family who moved into Chirwon-ri, Haman. The painting describes not only the back garden but also the external scenery, thus it provides important evidences for understanding Mugi-YeonDang and its nearby landscape, and is helpful to its maintenance and restoration.

• The Journal of Art Theory & Practice
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• no.8
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• pp.59-87
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• 2009

This thesis started from the attempt to make it clear that 80's American artist Keith Haring(1958-1990) had conducted social intervention of criticism, resistance, and participation through his works, and so pursued public value. Haring of graffiti fame left popular and familiar cartoon style pictures on the street wall, the billboards, the posters and so on. Popular and playful works was explained as his unique characteristics, but Haring's creative way at the field has more value than just being grasped as artist's personal characteristics. Haring's work pieces became everyday art by joining with people's life, and are working as a social speaking place. So I think that these Haring's art works possess characteristics of 'the public sphere'. 'The Public Sphere' means that is independent and free from the government or partisan economic forces, so that is not connected with the interested relations, and that is the sphere of rational argumentation without 'disguise' or 'fabrication', and that is the sphere where general public can participate in and is inspected by them. The public sphere between the sphere of public authority such a nation and a market and the private sphere of free individual, it is mutually connected with them and works as the space forming public opinion. Private individuals communicate with this public sphere and perform a role of direct and indirect check, balance, and social criticism way off from power. Openness that should include the voice of not only leading power but also the socially weak such as citizens, women, homosexuals, minority races, and so on, and alienated class, is an index of the public characteristics. The public sphere is not working just with speech and mass media. Many artists as well as Haring open their mouth and act through an art at the center of society, and create another public sphere by an art. I understood that the real participatory and practical characteristics on the Haring's work is a phenomenon and current of a part of the art world including Haring. Such current started from 1960s is the in-depth effort to be connected with the life more closely, to communicate with people, and to improve problems of life. And it has pursued public value on the different way from the nation or public power. Artists have intervened in the society with strategic and positive ways in order to raise pushed-out value and sinked rights as the public agenda, and labored to accept the value of variety and difference at the society. The aspect of such social intervention is the notable features, findable on the Haring's works and process. Haring's works include art historical meanings and are expressed with familiar and plastic language, so they were able to communicate with various classes. And he secured various customers at the field and the street. This communicative and public approach factor raised the possibility much for his works to work as the public sphere. Haring presented critical and resistant speech toward society with his works based on this factor. He asserted his position and justice of gender identity as a sexual minority. And his such work continued to movement for alienated class and social week over his own rights. His speech and message on the wall painting, poster, T-shirts, billboard of the subway, and so on worked as a spectacle and pressed concern with social issues and consciousness shift. And he's been trying to protect and care people who is injured by HIV and drug and to realize social justice through social week protection. Haring's works planned to meet many people as much as possible performed its role of intervening in society through criticism, resistance, speech, and participation, and controlling and checking social issues. These things considered, Haring's works show his consciousness about public attributes of art, and obviously include public value seeking. And also we can find the meaning of such his work as that an art is working as the public sphere and shows the possibility to discuss and practice public issues.

• Journal of Korean Philosophical Society
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• v.129
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• pp.193-217
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• 2014

The aim of this thesis is to elucidate the meaning of play which constitutes the genuine happiness of human being in Plato's '$heort{\bar{e}}$' and Aristotle's '$schol{\bar{e}}$'. Until now '$heort{\bar{e}}$', a divine act which communicate with original divinity, was differentiated from paidia. And '$schol{\bar{e}}$' was understood as activities in spare time opposed to labour. Plato put '$heort{\bar{e}}$' at the center of their life as a means for gods' blessing. Aristotle understand '$schol{\bar{e}}$' as free activities and the completion of individual life. For Aristotle play is not only a freedom from labour but also a supreme activity. Play itself is an end and a completion. Play is the essence of human life so man can be happy with play. Play is the activity of joy. And play is the most intellectual and spontaneous activity. Now we can assert that '$heort{\bar{e}}$' is the original play which elucidate the existence of the human being in connection with world and is the holy mode of play which makes an affluent life of communities. And we can maintain that '$schol{\bar{e}}$' is a mode of play which freed from the burden of labour and elevate the life of human being to academic activities and contemplative life. By this interpretation we can expose that play is the center of life. We can see the two fold meaning of apollonian-dionysian play and the perfect harmony of communities in Plato's '$heort{\bar{e}}$'. We can see also the delight as splendidness of life in Aristotle's '$schol{\bar{e}}$'. The Plato's theory of play seems different from Aristotle's. But their theories are the same in the general, because they both put play at the center of life and they equally assert that we have to live with playing our life. The world in which play is in harmony with labour- this world is their utopia.

• Journal of Korean Classical Literature and Education
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• no.32
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• pp.119-158
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• 2016

In this thesis we set forth the reasons for teaching classical river novels in secondary education, and investigated the guiding principles for content design of high school literature textbooks. Although classical river novels have great significance in cultural and narrative histories, they were previously consistently disregarded in secondary education. First, we looked at the need for including classical river novels in the secondary school curriculum to create a well-balanced education of classical novels, to link this with modern river novels, to teach the narrative styles and esthetics of river novels, and to let students understand the various cultures of the late Joseon Dynasty. Second, we examined two ways of educating students about classical river novels. For exclusively teaching classical river novels, we recommended the means of teaching and provided detailed guidelines by which they can be taught, as well as provided complete information about the family tree, the story unit, and the scene deployment. To establish the link between classic river novels and their modern counterparts, we recommended the process of teaching accession and transition of tradition by introducing the commonalities and the differences across three generations stories, besides discussing the viewpoints of female writers. When classical river novels are introduced in literary textbooks, students will realize the existence of such novels though they may not understand all aspects of the novels. We suggest that teaching and introduction of classical river novels in secondary education as soon as possible.

• Korea journal of population studies
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• v.11 no.1
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• pp.159-184
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• 1988

Race and ethnicity are important factors which influence the elderIy's residential adjustment behaviors, although it is unclear whether this reflects influences unrelated to race and ethnlcity. Culturally, the norm of family supportoften obseved among various minority ethnic groups is likely to provide flexible family suppof for the elderIy. Economically, the life-long hardship ofminority groups is likely to force them to maintain extended family living arrangements simply to reduce expenses via economies of scale. Thecontroversy about the economic need versus the cultural prescription forextended living arrangements remains unresoIved because it fails to articulatethe meaning of family supports among many disadvantaged groups.This study aims to test previous economic and cultural arguments, byexamining ethnic differences iu the eiderIy's responsiveness to their health andeconomic problems. Two hypotheses about cultural influences on the elderly's resideutiai adjustment are examined. First, do elderly minorities receive famiiysupporis for longer periods when they are poor if economic and health status\ulcorner Second, do elderiy minorities receive family supports more often when their health status declines\ulcorner Using the Longitudinal Suvey on Aging from 1984 to 1990. this study employs Markovian multi-state life tables, and discrete and contonuous competing hazard analyses for the transition in living arrangements. The main results provide substantial evidence against the cultural resource thesis. Elderly minorities experience more frequent transition between living alone and living with relatives than white elderly persons when group differences in the extent of mortality and insititutionalization are controlled. The shorter timf of living alone among elderly monorities stems from their greater likehood of joining relatives as well as greater mortality and attrition rates than elderly whites. Coresidence of elderly whites with their relatives is more likely to occur in response to their needs for health care than of elderly whites. it implies that instability. not flezibility. characterrizes elderly minorities living arrangements.