• Cross-Cultural Studies
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• v.38
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• pp.145-190
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• 2015

The objective of this paper is to investigate translated individual words in J. S. Gale's "Choon Yang" in comparison with its original OkJoongHwa("獄中花") while referring to early modern bilingual dictionaries and missionaries' ethnography. Gale faced a lot of translation difficulties because the source text had a very different cultural system from the object text. OkJoongHwa was a Korean pansori novel which meant it included many Korean characteristics. However, Gale considered its Korean characteristics were deeply connected with Chinese classics. Even famous people and place names cited from the Chinese classics in OkJoongHwa represented the Korean thinking. Gale tried to faithfully translate the source text as much as possible whether the words were Chinese or Korean. In this paper, we deal with mostly various translation aspects of the Chinese-letter words in OkJoongHwa. Gale's first method to translate words made of Chinese Character is transliteration, the examples of which are the name of Chinese famous people and places, and Chinese poems. The second method is to parallel transliteration and English interpretation equivalent to the Chinese Character. The examples are the names of main characters like "Spring Fragrance or Choonyang," "Mongyong, or Dream-Dragon" and in his translation of word play in Osa (Commissioner), or Kamsa (Governor), kaiksa (a dead beggar). The third is literal translation of Chinese idiomatic phrases as Gale translated 侵魚落雁 into "She'd make the fishes to sink and the wild-geese to drop from the sky." The fourth is a little free translation of the title of public office, the various names of Korean yamen servants and the unique Korean clothing and ornaments. We expect Gale's many translation difficulties as we can see the translated long list of yamen clerks and Korean clothing and ornaments. After our investigation of his translation practices in "Choon Yang" we conclude that he tried to translate its literary language very faithfully though he could not avoid inevitable loss caused by the cultural difference involved in two languages. Gale's "Choon Yang" contributed to introducing the uniqueness of the classical Korean novel and Korean culture to the world more than any other English translation works of that time through his faithful translation.

• Journal of Korean Philosophical Society
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• v.130
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• pp.337-361
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• 2014

The main purpose of this paper is to reconstruct the modern thought of love in terms of Dewey's esthetic experience. In the contemporary Korean society, discussions of love are represented in the two tendencies, scientification of love and idealization of love. In actuality, they support the insistence of impossibility of love by the modern sociologists. The former deals with love as chemical reactions in brain, which is based on physiology and biology. The latter regards hypothetical love through the media as the idea of love and displaces concrete love in reality with it. To see love as the subject catching, understanding, and desiring the object depends upon a narrow concept of experience. It comes from the idea that experience is not doing and suffering in a concrete situation but knowing and understanding the object. In this case, the uniqueness and the qualitativeness with each experience of love are ignored. When these traits of a romantic relationship are disregarded, love cannot help but subordinate to the logic of capitalism. This paper, therefore, attempts to find a new way to understand experience of love, focusing on Dewey's concept of aesthetic experience. I suggest that we can expect the possibility of experience of love if love is experienced in a similar way with aesthetic experience based on emotional interaction, and that the very experience of love leads to growth of our personality. Furthermore, I think this communicative experience makes people to change their community as well as each person's private life.

• Journal of Korean Society of Forest Science
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• v.110 no.4
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• pp.516-529
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• 2021

Coniferous forests in the Baekdudaegan protected area are gradually losing their landscape diversity and uniqueness along with their ecological stability due to changes in vegetation composition and structures caused by various disturbance factors, such as climate change, vegetation succession, and human interference. This study provides basic data for establishing a comprehensive conservation plan for coniferous forests in the Baekdudaegan protected area. We classified the vegetation unit types using the Zurich-Montpellier School of Phytosociology and two-way indicator species analysis methods and analyzed the species diversity and structural characteristics based on the vegetation information of 755 stands collected in the natural resources change survey of the Baekdudaegan mountains (2016 to 2020) by the Korea Forest Service. Therefore, the vegetation of the coniferous forests of theBaekdudaegan protected area was classified into 15 types under the vegetation unit hierarchy of two community groups, four communities, seven sub-communities, and 14 variants. Furthermore, we compared the total coverage among vegetation types, importance values, constancy classes, life-forms, and diversity indices. Additionally, the average total coverage and number of species per 100 m² of all coniferous forests were 232% and 21 species, respectively, with the species diversity and dominance indices averaging 1.907 and 0.222, respectively.

• 기호학연구
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• no.56
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• pp.71-107
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• 2018

The purpose of this study was to find out the presentation of food and cooking process shown through the media and its cultural implications by comparing and analyzing seasons 1 and 2 of , tvN's reality program which has gained high viewer ratings and sympathy from the viewers. In light of the existing documents, the research reviewed the social and cultural meanings implied through a series of processes of "the act of cooking- the act of providing food - the act of having a meal."The authors concerned narrative structure of the program, paradigmatic analysis, actantial analysis, and analysis by applying the culinary triangle of $L{\acute{e}}vi$-Strauss were conducted, in order to find out the difference between seasons 1 and 2 of the . As a result of semiotic analysis on the programs, by focusing on the value of composure and slowness which may be felt through the simple everyday lives and travelling by running a Korean restaurant in a foreign country, the reality program revealed the changed consumption behaviors for Korean food, and the evolutionary process of cooking and the act of providing food reflecting the above. Meanwhile, the transformation of the Korean food may mean the "statelessness of Korean food" hidden under the name of localization or globalization. Furthermore, although the program intended to put up globalization of Korean food, the uniqueness of the Korean food wash armed, and this is the reason why it needs to be examined whether Korean food was used simply for entertainment in the program. Also, the program showed limitations such as drawing cultural inferiority as the motive for watching the program.

• Journal of Korean Theatre Studies Association
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• no.53
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• pp.57-87
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• 2014

This article re-reads the messages of the text, 'Incendies', the uncanny actions and the strange words of protagonist Nawal, through the ideas of Jacques Lacan, particularly his notion of sexuation with posing questions about most of the previous reviews which are based on femininity or motherhood. For Lacan, masculinity and femininity are not biological essences but symbolic positions, and the assumption of one of these two positions is fundamental to the construction of subjectivity. So 'man' and 'woman' are merely signifiers that stand for these two subjective positions. Each side is defined by both an affirmation and a negation of the phallic function, by both an inclusion and exclusion of absolute non-phallic jouissance. Unlike the man, the woman is 'not-all' identified with the phallic function, demonstrating the undecidability and impossibility of totalising the woman. Although the woman is bound to do castration through being subject to the phallic function, she is also related to the signifier of the barred Other, S(Ⱥ) which stands for a gap or lack in the Other. Thus, as a consequence of not being entirely within the symbolic, she has an Other Jouissance, Feminine Jouissance, because it's possible to face emptiness of the Symbolic, the Real only in the place of the woman for new Ethics/Politics. This paper finds that Nawal is not completely defined by the phallic function and she is a subject of death drive that practices the signifying cut with passing through the fantasy as a screen for the desire of the Other. Nawal is situated on the position of the woman as 'not-all' unlike masculinity in Lacanian sexuation. This article shows that her strange acts are love, that is the true ethical acts. Above all her acts are related to the ethics of pure desire beyond the ethics of the Good of Aristotle. In that sense the character of Nawal of 'Incendies' is similar to the one of 'Antigone' as a character in all aspects. In psychoanalysis they all are true subjects that face a void, emptiness in a symbolic structure. They assume underlying impossibility of being/the Symbolic. They don't represent the images of compromise and peace in the normally accepted meaning of the word. A love that they show is not compassion but blind recognition of the excluded, embracing uniqueness of the excluded. This thesis finds resultingly Nawal's acts which can't be understood from viewpoint of feminism practice the ethics of the real, the politics of the real.

• The Journal of the Korea Contents Association
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• v.18 no.12
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• pp.92-101
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• 2018

It is important to inherit and develop the unique cultural characteristics of each country and region in the trend of globalization. The traditional lighting fixtures in China are the main artifacts that can be used to extract the cultural aesthetics and practicality of the people, and are a major relic of the people's cultural sensitivities and practicalities. The purpose of this study is to understand the background of the time and the meaning of national culture through the lighting equipment of the most revived Tang Dynasty in Chinese history. The purpose of this paper is to examine the development trend of lighting equipment in the Tang Dynasty through the recognition of the social background, religious thought, cultural characteristics, and characteristics of lighting fixtures in the Tang Dynasty. In this paper, we analyzed seven factors (function, molding, fuel, usage space, usage method, religious thought, and living environment) of the Tang dynasty lighting fixtures through multiple factor analysis method. In addition, the Tang Dynasty period lighting fixtures had four trends: "popularization of lighting, universal simplification of molding, diversification of use, and spread of Buddhist influence." This tendency has a meaning to provide a new motive for modern lighting design in the context of cultural uniqueness and perspectives.

• Korean Journal of Heritage: History & Science
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• v.46 no.4
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• pp.64-77
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• 2013

In China, archaeological research on Xiongnu started later than in foreign countries. In the late $19^{th}$ century, several Russian archaeologists started to study Xiongnu's archaeological culture. However, since the late $20^{th}$ century, archaeological research of the Xiongnu in China quickly gained speed. The Xiongnu culture has been reported in Mongolia, northern steppe of China and eastern part of Eurasian steppe. Mainly, Xiongnu sites, dated from the late 2nd century B.C. to the 1st century A.D., are reported on the west side of Baikal Lake(Zabaikal), Mongolia and the Inner Mongolia of China. Based on the historical records and the archaeological remains, the North Xiongnu culture is defined to be the remains of Zabaikal, and the South Xiongnu culture the archaeological remains of Northern China. The expelled North Xiongnu, while fleeing to the western part of Eurasia, left traces of their own archaeological remains in southern Kazakhstan, Xinjiang of China, Altai, and finally appeared in the Europe as Huns. In order to adapt to the environment of northern steppe of China, Xiongnu used a nomadic economic system, giving uniqueness to its iron works. The most characteristic iron works of the Xiongnu is the highly-sophisticated iron weapons. Compared with the iron works of agricultural economic society, Xiongnu iron-works are short of production tools and various vessels. The "Nomadic type" iron works found in Xiongnu area date back to the Warring Country period or slightly later. Further research need to be conducted on "Nomadic type" Xiongnu iron works.

• Korean Journal of Ecology and Environment
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• v.52 no.3
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• pp.274-283
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• 2019

Beta diversity is an efficient means of assessing the spatial variation in community composition among sites. To present fish community variation and LCBD (Local Contribution to Beta Diversity) among sites in stream, 6 sampling sites were selected in Cheonggye stream. Fish communities, environmental and habitat variables were collected at sites from April 2014 to October 2015. We used the total variance of the fish community data table (site-by-species community table) based on different forms, presence-absence, abundance, and Hellinger transformation, to estimate and compare beta diversity and LCBD. Fish community data table transformed by Hellinger distance showed the higher values of beta diversity than presence-absence and abundance data table. A similar patterns of LCBD were observed with presence-absence and Hellinger transformed data table. Low value of beta diversity calculated by community data table with abundance was due to the non-normality of fish assemblage data. Additionally, correlation coefficients were calculated to evaluate the relationships among LCBD, community indices and physicochemical variables. LCBD showed negative correlation coefficients with Shannon diversity. Overall, application of beta diversity analysis is an efficient method of addressing spatial variation of fish communities and ecological uniqueness of the sites in stream.

• The Korean Journal of Archival Studies
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• no.48
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• pp.210-252
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• 2016

Community creates, receives and preserves the records, which made the community members and the entire society remember their history. As for community archives, archival appraisal is very political activity because appraisal of community records means whose memory remain alive in history. This study aims to analyze archival appraisal theories from the perspective of community and community archives, and suggest appraisal model for community archives. This study begins with examining the meaning of community archives and appraisal related issues including; i) community identity and independence of archives, ii) struggle of memory and multiple narratives, iii) uniqueness of each community and its archives, and iv) community archives as memory process and social inclusion. At the next stage, it deals with the archival theories from Schellenberg's archival values theory to macro-appraisal, to investigate possible application of theories for community records appraisal. It finds that the societal approach of macro-appraisal have advantage to appraise the community records. This study finally suggests the appraisal model for community archives by modifying the macro-appraisal components as well as by complying the principles of community archives. The model consists of the purpose and object of appraisal, principle and basis of valuation, and cooperation model between mainstream repository and community.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.4
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• pp.28-38
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• 2018

The purpose of this study is to clarify what is the unique garden making methods of Enshu Kobori by surveying and analyzing that existing garden of Enshu Kobori is different from the existing Japanese garden that had been built up to such a period. Enshu Kobori breaks away from the conventional frame that was established with the gardens of existing Karesansui style(枯山水樣式) with the materials of rocks and sands. Enshu Kobori is produced to make harmony with the rocks by trimming the Rhododendron indicum and this type of making method of Enshu was originated from the aesthetic principle of kireisabi. Due to this type of cause, the garden of Enshu Kobori displays splendid and yet a simple beauty of gardening. With respect to the establishment of a garden unique to Enshu Kobori as such, it seemed to have the cultural background expanded with the cultural perception and official family class of the edo period where it strived for new things. Therefore, Enshu Kobori was designed as the ornament-oriented garden rather than the garden that requires direct ceremonial act. The subject sites for this study are Raikyuji, Daichiji, Shodenji, Nanzenji Hojo and Konchiin as intended by Enshu Kobori. Contents of the study contemplate the location of garden, factors to introduce the garden, structure of garden, background of garden, use of stones, plants and scenic views to clarify the uniqueness of the Enshu Kobori garden.