• Journal of the Korean Society of Floral Art and Design
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• no.42
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• pp.63-96
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• 2020

The flower arrangement that human beings interact with the natural plants have characteristics according to their historical background and ethnicity and different aspects of culture related of the flower arrangements have been created by human inspiration and formative ability. The Korean flower arrangement is a product of civilization which originated in the natural environment of the four seasons. As background with the natural unity ideology, the Korean Flower Arrangement makes the life and philosophy of the naturalistic nature that flows in the mind of our nation to the relaxing beauty suited on cultures of ages by the Virtue, the Will, and the Vitality. The Literary Flower Arrangement is, based on the higher human personality and poetic sentiments as ideologies of our traditional oriental philosophy, the formative art made for aesthetic implications of philosophy by consisting plants' characters and tastes without expression of technical skills. In this study, focused on pine tree, in order to clarify that the flower arrangement of our spiritual culture is the Literary Flower Arrangement, make Identifying aesthetic characteristics through, the backgrounds and sources of being expressed by the Literary Flower Arrangement, poetic feelings, symbolism, metaphor, the formative form of flower arrangement, decoding of the flower arrangement genes, and the same time deduce the record of literary work and classify it each era, and establish the Literary Flower Arrangement theory which is the essence of Korean flower arrangement.

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.165-172
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• 2019

Signs of the street and scenes of the nature(tree) popping up like a still screen in a monotonously repeated routine, as if waiting for something by chance, characters appearing and disappearing without special meaning, advise you to get away from cliché meetings and breakups while repeating it. The images of people returning to their places without presenting any conclusions highlights the coincidences and unexpectedness of everyday life, but are so familiar that it is easy to be overlooked, it brings us to experience the potential of everyday unfamiliarity in such moments. The actor's performance, which deviates from the practice of well-organized characters, is improvised (unplanned and uncoordinated) emphasized on the scene and expresses the everyday nature of his differentiated character freely like the reality as if he were locked up in a film structure but not confined to it, and as if he got used to the everyday life. Also the repeated words and actions of characters, and unpredictable changes of emotions, centered by the encounters and conversations of this film of Hong Sang-soo, everything that is presented in the background of everyday life in its form, let's us pay attention to the meaning and what to be found in the film. In addition, director Hong Sang-soo, who creates a story after selecting actors to reproduce this daily process in a realistic manner, sets new relationships between the characters and the actors, presenting a new method of realistic expression, through the actor who repeatedly appears in the film. This study analyzes the everyday characters and acting of the film based on director Hong Sang-soo's directing style.

• Journal of the Korean Society of Costume
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• v.39
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• pp.217-237
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• 1998

The present research is to study the make-up culture of Korea and its neighboring countries such as China and Japan during the period from the prehistoric age to the 19th cen-tury. The research was made by documents analysis. The results are summerised as follows : (1) A man has a basic instinct to beautify himself. There was not a significant difference between the make-up behavior of men and women in its primal stage. It was by the start of farming and the division of labor that made the make-up behavior as a feminine culture. The difference of sexual role caused the con-ceptual difference between manly beauty and womanly beauty. It was very natural for women to regard the make-up as the best way for showing their feminine beauty. In Korea, China and Japan, there were vari-ous kinds of primal actions such as tattooing, body-painting, and tooth make-up which were used in the purpose of body protection, incantation, ornament, and so on. Ass their ornamental purpose was becoming more important, these primal actions became the basis of the feminine make-up culture. Nowadays make-up, having mental and emo-tional function, is helpful to increasing self-satisfaction, promoting good personal relation-ship, and attracting attention from the other sex. It also has other functions of showing social status, wealth, age, sex, courage, power, and so on. (2) The representative make-up product used widely in the three countries was Boon (powder) which decides the overall color of face. The key point in the production of Boon was to increase its power of adsorption. The invention of Yunboon (power mixed with lead) solved this major problem of Boon. Yeonji which decides the color of cheek was the mixture of Boon and the powder of Honghwa (a kind of red-colored flower or tree). Mimook (eyebrow pencil) was developed to match up with the various and changing currencies of penciling eyebrows in each nation and times, Yeonji and Joosa (red sand) were used as Jinji (lip stick). The predominant color of Jinji was red. As miscellaneous methods of partial make-up, there were Kon-ji used in a wedding cer-emony in korea, Aek-hwang, Hwa-jeon, Sa-hong, and Myun-yup in China, and Chi-heuk, a peculial method of partial make-up in japan. (3) There were various factors which decided the characteristics of make-up culture usually reflects international atmosphere, the form of government, economic situation, re-ligious and social ideology, aesthetic sense, symbolizing meanings of colors, and so on. The up and down of an influentian country was one of the major factors which decided the characteristics of the make-up culture of its neighboring countries. When a country took a liberal form of government, it had diverse and splendid tendencies in its make-up culture. The better a nation's economic situation is, the more abandant and various its make-up culture is, and sometimes, the more eccentric and decadents it was. In the field of make-up production, the three countries had their own characteristics. But, as a whole, China was the leading nation who spread the culture and products of make-up to Korea and Japan. Though the Chinese make-up culture and products were usually spread to Japan through Korean, there was some evidence of direct exchanges between China and Japan through its dispatches of Kyun-Tang-Sa(Japanese delegation to the Tang Dynasty). While religion had a positive influence on the development of make-up culture by introducing new methods of make-up, Confucianism exercised strict control over the make-up cul-ture. The currencies in arts and changes of esthetic sense introduced new methods and booms to the make-up culture. Literature made people pay increasing attentions to the countenances of women and changed the standards of esthetic sense. We can find out that the social status of woman was also reflected in the make-up culture. As the social status of women became higher, the feminine make-up culture also developed more then ever. As mentioned above, the make-up cultures of the three countries reflected their social values, esthetic senses, and emotional feelings. Through their cultural exchanges, the three countries could develop various make-up products and methods.

• Journal of Wetlands Research
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• v.2 no.1
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• pp.31-40
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• 2000

The flora, vegetation structure and physico-chemical characteristics of surface sediment were investigated in Paksil-nup wetland of Hapcheon-gun, Gyeongsangnam-do, Korea in 1990~1998. Ranges of the surface sediment characteristics such as pH, conductivity, organic matter, total nitrogen, available phosphorus, exchangeable K, exchangeable Ca, exchangeable Mg, and exchangeable Na were 4.36~4.34, $19.0{\sim}1260.0\;{\mu}mho\;cm^{-1}$, 0.01~6.35%, 0.001~0.14%, 0.01~0.31 mg/l00g, 1.01~13.98 ppm, 16.75~143.80 ppm, 0.93~14.85 ppm and 0.21~3.86 ppm, respectively. Percentages of the particle size such as sand, silt, and clay were 13.0~93.3%, 5.4~71.7%, and 0.5~37.5%, respectively. The flora of the study area was composed of 72 families, 182 genera, 223 species, 36 varieties and 2 form or total 261 kinds, and those were 45 kinds of vascular hydrophytes and 216 kinds of vascular hygrophytes. The life form of vascular hydrophytes was classified as 27 kinds (60%) of emergent plants, 8 kinds (18%) of submerged plants, 6 kinds (13%) of free-floating plants and 4 kinds (9%) of floating-leaved plants, respectively. The importance value of Salix nipponica was highest as 123.78 in the shrub and tree layers, and that of Trapa japonica was highest as 16.69 in the herb layer. The vegetation type was divided into two groups according to the association analysis. The vegetation of the littoral zone was classified into 7 associations according to the cluster analysis based on the coverage data. These results showed significant differences with those of stand ordination by correspondence analysis based on the species composition and by PCA based on the sediment properties. Factors affecting the distribution of the vascular hydrophytes and hygrophytes were the gradient of particle size, altitude, and water depth.

• Korean Journal of Environmental Agriculture
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• v.29 no.2
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• pp.206-213
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• 2010

The aim of this study was to provide basic informations for restoring a habitat of Nannophy pygmaea Rambur. Environments and flora of the habitats were investigated in Youngdong, Sanbuk, and Nongam South Korea. The habitats were abandoned paddy fields with tree-unshaded space and with the water depths of about 2 - 10 cm all the year round. The water quality was recorded 5.44 - 7.33 in pH, 0.017 - 0.480 dS/m in EC, 1.34 - 4.94 mg/L in T-N and 0.06 - 0.46 mg/L in T-P. The pH and EC showed a wide range values, and T-N and T-P showed a high values comparatively. This result implies that a water quality does not important as the condition for a habitat of the species. A total of 86 vascular plant taxa belonging to 35 families, 60 genera, 67 species, 2 subspecies, 14 varieties and 3 forma were recognized in the habitats. Twenty two species (25.6%) overlapped among the habitats; Equisetum arvense, Salix koreensis, Persicaria thunbergii, Stellaria alsine var. undulata, Hypericum laxum, Kummerowia striata, Epilobium pyrricholophum, Oenanthe javanica, Mosla dianthera, Utricularia vulgaris var. japonica, Plantago asiatica, Eupatorium lindleyanum, Juncus diastrophanthus, J. effusus var. decipiens, J. papillosus, Aneilema keisak, Alopecurus aequalis, Arthraxon hispidus, Carex dickinsii, Cyperus sanguinolentus, Eleocharis acicularis for. longiseta and E. congesta. Biological type was determined to be HH-R5-D4-e(t) type; HH 39 taxa (45.3%), R5 42 taxa (48.8%), D4 59 taxa (68.6%) and e (or t) 23 taxa (26.7%).

• Proceedings of The Korean Society of Health Promotion Conference
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• 2004.10a
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• pp.59-88
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• 2004

' Healthy Japan 21 ' is a new health policy that has been proposed for the 21st century: it embodies a totally new concept for its viewpoints and methods. To start with, for its goal, the focus is placed on the ' quality of life ' or a life that is tree of diseases, rather than mere prolongation of life. For its doctrine, the emphasis has shifted dramatically from improving the health of the entire population (the traditional approach for health improvement) to ' achieving an ideal health status for each individual. The ultimate aged society that arrives first in Japan is a society in its ultimate form for human being. Why did Japan become westernized, giving up her traditional culture? Why did she go through industrialization, sacrificing her nature? And why does she try so hard to industrialize the developing countries? These efforts are all preparation for the arrival of a ultimate aged society. During the 20th century, we believed in unlimited possibilities and expanded our social frontier. 1n the 21st century, on the other hand, a super-aged society (the ultimate society), a glimpse of which we have witnessed from time to time, will descend on us sooner or later. It is expected to arrive first in Japan. ' Healthy Japan 21 ' is intended to prepare for the arrival of the hitherto unheard of super-aged society by building the physiological basis of people. This policy is social experimentation on an immense social scale, in which questions are posed on the understanding of health, the relationship between individuals and society, the relationship between administration and citizens, the manner by which central and local governments operate, and the new relationship between prevention and therapy. ' Healthy Japan 21 ' may be summarized as an experiment on a huge scale directed to the ultimate form of human society, in which Japan and each of her citizens playa role and set an example for the rest of the world. Even just by considering various approaches newly suggested for this venture, one may be convinced that it is a policy with features suitable for a country that has already achieved the world's highest longevity.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.2
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• pp.60-76
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• 2020

The purpose of this study was to examine the spatial and visual arrangement characteristics of Imsil Yi Ung-jae's old house's spatial and visual aspects in order to discover the value of landscape and traditional house garden. The results of this study are as follows. Dongchon-village in Dundeok-ri, where old house is located, is a typical form of with "Back to the mountain and facing the water(背山臨水)", and is located in the north of the three streams of water, forming a Jeonchaghugwan(前窄後寬). Dongchon Village, which has a traditional scenic spot between Danguidae(丹丘臺) and Samgyeseokmun(三溪石門), is understood to be the main street of Nojeokbong Peak and Gyegwanbong Peak, which is Ansan(案山), where the "A centipede flying in the sky(飛天蜈蚣形)". Yi Ung-jae's old house is the oldest existing high-priced house in the North Jeolla region and the closing price of a royal family of the Joseon Dynasty, which was arranged by Chunseongjeong(春城正), Yi Dam-son(李聃孫) in the mid-16C. The Japanese Invasion of Korea in 1592 and Japanese colonial era, the loyalty of the gate quarters, the filial piety of the gate quarters, and the faithfulness of the tablet(扁額) and Juryeons(柱聯) are enough to contribute to the rise of the value of a physical house. The men's quarters(Sarangchae), which are placed on a high-pocket or a layout without going against the sloping terrain, have the effect of making the distance as far as possible, enhancing its dignity and hierarchy as a royal building. In addition, the entrance to the main quarters(Anchae) through the four pillar gates(四柱門), the extensive support and the appropriation of the Chaewon(vegetable garden), and the official base for the Anchae are very unique compared to the general nobility. However, in the context of the postwar relationship, the shrine seeks to realize Confucian ideals while harmonizing with nature by arranging wide sponsorships around it. On the other hand, it is confirmed that there was a pond in the form of a circle in a square(方池圓島型) with a relatively large area, which is now disturbed and damaged. Written by the high priced planting species are sponsored pine trees, hackberry, persimmon trees, Japanese apricot flower, Ohmomiji, and plum tree in the side garden, as well as cotyledon trees in the outside garden. However, although flower bed(花階), which is built on the stone axis, is a place that clearly shows the expensive garden, it seems to have lost the texture of the plant due to the extremely high variety of species and the splendor that does not match the plant landscape of the flower world. Yi Ung-jae's old house is highly valuable as it is a portrait house of a prince of the blood in the mid-Joseon Dynasty. Based on these findings, this study proposed a plan to improve the management of high prices that could be met.

• Korean Journal of Plant Resources
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• v.31 no.4
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• pp.396-418
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• 2018

This study was carried out to investigate the flora and the vegetation of Samusan mountain on Jecheon-si, located in the middle part of the Korean peninsula. The vascular plants which were collected in 9 times from June 2014 to October 2015 were identified as 502 taxa in total, including 102 families, 314 genera, 445 species, 6 subspecies, 49 varieties, 1 form and 1 hybrid. The largest families were as follows; Asteraceae (70 taxa), Poaceae (52 taxa), Rosaceae (30 taxa), Fabaceae (28 taxa), and Cyperaceae (20 taxa). Of them, Korean endemic plants numbered 10 taxa, and vascular plants listed in the red data according to the International Union for Conservation of Nature (IUCN) numbered 14 taxa. The floristic regional indicator plants found in this area were 61 taxa in total. Among them, 5 taxa revealed the floristic grade V, 11 for floristic grade IV, 14 for floristic grade III, 10 for floristic grade II, and 21 for floristic grade I. The alien plants were identified as 43 taxa and the percentage of naturalized index (NI) was 8.6%, and urbanization index (UI) was 13.4%, respectively. Samples of the forest vegetation on the Samusan Mt. were mainly classified as Pinus densiflora, Quercus variabilis, Q. acutissima, Q. mongolica, Zelkova serrata and Robinia pseudoacacia forest. The vertical structures of the forest were stable and the DBH-Class analyses showed that the dominant tree species would be maintained. In the surveyed areas, high plant diversity was shown, and a number of endemic, rare, calcicole plants and phytogeographically important plants were found. Nonetheless, numerous and diverse biological resources native have been consistently disturbed or damaged by human activities without some form of protection. Therefore, it is needed to set up strategies for conservation forest vegetation in this study area.

• (The) Research of the performance art and culture
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• no.18
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• pp.5-46
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• 2009

The origin of Korean mime is traceable to sacred actions of prehistoric age. There are materials about mime of this age in the archeological materials of this age, oral literature/myth, and written literature about this age. There were traces of the most original form of mime in primitive ritual of tribal nation age. The mimes of Samkooksidae/Tree Nation Age of Korea were presented to forms of Kamoobekhee(歌舞百戱)/Sanakbekhee(散樂百戱). We can discover traces of mime of this age in Hosunmoo(胡旋舞), Gwangsumoo(廣袖舞), Kweraehee(傀儡戱), Keeak(伎樂), Kummoo(劍舞) Muaemoo(無㝵舞), and so forth. Especially, Keeak in Beckjae was mask mime of Buddhistic contents. We can recognize that secular theatres were more diversified and strengthened than sacred thaetres in Nambukgooksidae/South-north Nation Age. According to these changes, there were many changes in the mime of this age. We can concretely find traditions of mime of this age in Cheryongkamoo(處容歌舞), Hwangchanmoo(黃倡舞), Taemyun(大面), Wuljen(月顚), Sodok(束毒)', Sanyae (狻猊), and so forth. Mimes of Koreasidae/Korea Age take diverse forms of puppet play, mask play, dance play. Established traditional mimes as Cheryongkamoo(處容歌舞) were widely disseminated in society. And dance plays of mime form as Hunsundo(獻仙桃), Pokurak(抛毬樂), Yunhwadae(蓮花臺)' were imported from Song Nation of China. Mime of Chosundidae/Chosun Age were developed with changes of theatre that were divided into Kyusickjeehee[規式之戲] as Kwangdae(廣大), Ser-in(西人), Joojil(注叱), Rongryung(弄鈴), Kendoo(斤頭) and Sohakjihee[笑謔之戱] as Soochuk(水尺) Sengkwangdae(僧廣大). Styles of theatre in this age were specialized into mudangkuk, Pungmoolkut, Inhyunguk/Puppet play, Talnoree/Mask paly, Pansori, Kungjoong Kamuakguk. According to this changes, mime of this age were specialized into diverse aspects. Korean mime were specialized into Kutnorum-formed mime, Inhyungnorum-formed mime, Jabsaeknorum-formed mime, Talnorum-formed mime, Kungjoongmuyong-formed mime, Pansori-formed mime, and so forth.

• Journal of Popular Narrative
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• v.26 no.3
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• pp.161-188
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• 2020

This paper seeks to expand the scale of literary history by restoring and analyzing the whole aspect of Kwak Hashin's works, which has so far been studied little. For this purpose, I notice the rupture of discontinuity of his works which is greatly divided into the colonial period and post Korean war period. And the characteristics of each works can be analyzed based on the three axis, local(colonial period), jobless person(post-war period), and Homo Economicus(some short stories, and popular novels in post-war period). In Chapter 2, 'Local-the world of Munjang', I evaluated that Kwak Hashin's novel, which had been published in the late 1930s in the Journal of Munjang, embodied anti-modern aesthetic consciousness, as clearly revealing the sorrow for disappearing things, the pre-modern sense of time, and the preference for local. In Chapter 3, 'Jobless Person' and Chapter 4, 'The State of All People's Struggle against All People, The Appearance of Homo Economicus', the Korean society in late 1950s, which entered underdeveloped capitalist countries after Korean war, can be characterized by two contrasting male-gender, one is the jobless, incompetent male, and the economic man on the other hand. In the late '50s, Lumpen(=Jobless Person) novels showed the problems of the Korean economy through incompetent male character. The intelligent men took the path to survival rather than morality or intimacy, projecting their own incompetence and anxiety to women/wives. In the popular novels Women's Song and The Shadow of the Fig Tree, achievement-oriented male figures who betrayed their colleagues, and exploited women's sex by using love relationships to rise to the top appeared. They can be defined as the Homo Economicus who embody the state of universal struggle against all people. These novels showed the formation of the masculinity in post Korean war period, which pursued the survival of the fittest, borrowing form of popular novel. As we have seen so far, Kwak Hashin needs to be re-evaluated as an writer who expanded the modern literary history in the outside of literature. He was the last generation writer written in Korean late colonial period, and provided the model of postwar literature by borrowing the form of journalism and popular novels.