• Journal of Korean Philosophical Society
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• v.116
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• pp.389-410
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• 2010

Augustin wurde sozusagen von der Rhetorik zum Christentum bekehrt. Der einstmalige Rhetorikprofessor (bis 386) distanziert sich von seiner $fr{\ddot{u}}heren$ Kunst. Aber er $kn{\ddot{u}}pft$ als Bischof im vierten Buch seiner weniger bekannten Schrift "De doctrina Christiana" (DDC; abgef. 427) wieder an die antike Rhetorik, speziell an Cicero, an. So wird die augustinische $Sp{\ddot{a}}tschrift$ $f{\ddot{u}}r$ eine antike Rhetorik in christlicher Verwendung gehalten. Es stellt nun die Frage, was Augustin zur $R{\ddot{u}}ckkehr$ zu seiner $fr{\ddot{u}}heren$ Kunst bewegte. Neuere Forschungen sehen in Augustins Werk eine Grundlage der mittelalterlichen Predigttheorie oder einen $blo{\ss}en$ Versuch, die Rhetorik vom Makel des Sophistischen zu befreien. Gewiss ist seine Einstellung zur "leeren Beredsamkeit" der Sophistik eindeutig, aber dies war eine Haltung, die letztlich von allen seinen christlichen Zeitgenossen geteilt wurde und folglich eines geringen Beweises bedurfte. Die Aufmerksamkeit, die Augustins $sp{\ddot{a}}terem$ Einfluss und seiner Ablehnung der Zweiten Sophistik geschenkt wird, kann den Blick $tr{\ddot{u}}ben$ $f{\ddot{u}}r$ seine Rolle bei der $L{\ddot{o}}sung$ eines christlichen Dilemmas aus dem vierten Jahrhundert. Augustin sah die Gefahren einer entgegengesetzten rhetorischen $H{\ddot{a}}resie$. Die $S{\ddot{u}}nde$ des Sophisten besteht darin, dass er die Notwendigkeit des Inhalts verneint und glaubt, nur die forma alleine sei $w{\ddot{u}}nschenswert$. Der gegenteilige Fehler, dem Geschichtsschreiber der Rhetorik niemals einen Namen gegeben haben, beruht auf dem Glauben, dass derjenige, der im Besitz der Wahrheit ist, auch ipso facto in der Lage ist, die Wahrheit anderen zu ${\ddot{u}}bermitteln$. Es handelt sich um eine $ausschlie{\ss}liche$ $Abh{\ddot{a}}ngigkeit$ von der materia. Augustin erkannte eine Gefahr und benutzte DDC dazu, eine Verbindung von Inhalt und Form in der christlichen Predigt voranzutreiben. Nur wenn man daher das Buch als einen Teil der $gro{\ss}en$ Debatte des vierten Jahrhunderts ansieht, tritt seine historische Bedeutung klar hervor. Der Leser ist beeindruckt davon, dass der Autor darauf insistiert, es sei eine Torheit, dem Feind ein $n{\ddot{u}}tzliches$ Instrument zu ${\ddot{u}}berlassen$. Augustin $erkl{\ddot{a}}rt$, dass die Kunst der Beredsamkeit rege in Gebrauch genommen und nicht kurzerhand abgelehnt werden solle, weil sie mit dem Makel des Heidentums behaftet sei. Kurz gesagt, geplant ist das vierte Buch von DDC als eine ratio eloquentiae Christianae.

• KOMUNHWA
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• no.68
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• pp.41-57
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• 2006

The purpose of this study is to review educational value of cultural heritage sites first and then, to examine the importance of interpretation and interpretation methods and process briefly to utilize cultural heritage sites as important resources for public education and cultural tourism. The educational value of cultural heritage sites is not limited to provide visitors with various information on historical facts and events related to the cultural heritage site, but to provide the public with a new recognition of the importance of the preservation of cultural heritage sites by understanding the site well. In order to utilize the educational value of the cultural heritage site, interpretation must be emphasized as an important element of cultural heritage sites management and much attention should be given on the development and practice of interpretation programs in each cultural heritage site. In order to develop an interpretation program of the site, a specific target audience must be defined first to find most resonable scope and direction of an interpretation program and then, site specific interpretation themes (or a theme) should be developed from the interpretive topic. According to these defined elements, an interpretation program(s) is established by using various interpretation methods and techniques in order to provide visitors with useful information and knowledge on the site efficiently. Interpretation methods and techniques are various as defined by various ways and most effective methods or techniques are employed as a specific interpretation program is presented most effectively. The evaluation processes in planing stage, during developing stage, and after completion of interpretation program development are important processes to find out any problems of planed interpretation program and to revise or update the interpretation program. Conclusively, the direction of cultural heritage sites management in Korea has focused on the conservation and restoration of cultural heritage sites to preserve the original conditions of cultural heritage sites so far. This direction on current practice on cultural heritage sites management should he changed to more active utilization of the sites and interpretation of the sites is a way to accomplish the this goal.

• Management & Information Systems Review
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• v.35 no.1
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• pp.51-68
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• 2016

In this paper, we aim to analyze the effect of accounting policy change subsequent to the adoption of K-IFRS in Korea, whereby the firms are required to recognize impairment losses on goodwill on a periodic basis rather than to amortize over a specific period. As a principle-based accounting standard, the K-IFRS expands the scope of fair value measurement with a view to enhance the relevance and timeliness of accounting information. In the same vein, intangibles with indefinite useful life, of which goodwill is an example, are subject to regulatory impairment tests at least once a year. Related literature on the impact of mandatory change in goodwill policy document that impairment recognition is more likely to be practiced opportunistically, mainly because managers have a greater discretion to conduct the tests under K-IFRS. However, existing literature examined the frequency and/or magnitude of the goodwill impairment before versus after the K-IFRS adoption, failing to notice the impairment symptoms at individual firm level. Borrowing the definition of impairment symptoms suggested by Ramanna and Watts(2012), this study performs a series of tests to determine whether the goodwill impairment recognition achieves the goal of communicating timelier information under the K-IFRS regime. Using 947 firm-year observations from domestic companies listed in KRX and KOSDAQ markets from 2008 to 2011, we document overall delays in recognizing impairment losses on goodwill after the adoption of K-IFRS relative to prior period, based on logistic and OLS regression analyses. The results are qualitatively similar in robustness tests, which use alternative proxy for goodwill impairment symptom. Afore-mentioned results indicate that managers are likely to take advantage of the increased discretion to recognize the impairment losses on goodwill rather than to provide timelier information on impairment, inconsistent with the goal of regulatory authority, which is in line with the improvement of timeliness and relevance of accounting information in conjunction with the full implementation of K-IFRS. This study contributes to the extant literature on goodwill impairment from a methodological viewpoint. We believe that the method employed in this paper potentially diminishes the bias inherent in researches relying on ex post impairment recognition, by conducting tests based on ex ante impairment symptoms, which allows direct examination of the timeliness changes between before and after K-IFRS adoption.

• Journal of the Korean Institute of Landscape Architecture
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• v.38 no.5
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• pp.53-63
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• 2010

The purposes of this study are to classify the characteristics of parks by park use patterns and the understanding of design concepts and to analyze the difference of cognition of design concept between designers and park users. The literature studies and surveys were performed to analyze park use patterns and understanding of design concepts for Seoul Forest Park, Yeouido Park and Seonyudo Park. Several statistical methods have been used such as descriptive analysis and importance-performance analysis. The results of this research are as follows. As the results of an analysis of park use patterns, Seonyudo Park may he qualified as an urban landmark park, while Yeouido Park can he classified as a neighborhood park. Seoul Forest Park bas characteristics of both. Second, the higher frequency of visits generally leads higher preference. Third, the overall cognition of the design concepts of parks shows 3.51 on average, which is comparatively high. The functional concepts are better transmitted to the users compared to abstract concepts. The cognition of the design concepts of each park are evaluated in the higher order of Seonyudo Park, Seoul Forest Park and Yeouido Park. Fourth, the cognition levels of detailed design concepts for each place are lower than the overall design concepts. On the other hand, levels of satisfaction are increased after the design concepts are noticed. It would he necessary make the effort to give information about the design concept of each space. The results of this study are limited in that it covers only three parks in Seoul, and did not consider seasonal variables. Nevertheless, this study may he significant in that it dealt with the cognition of design concepts for urban parks, focusing on the difference between designers and visitors.

• (The) Research of the performance art and culture
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• no.32
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• pp.31-70
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• 2016

Jongmyo Jeryeak [Royal ancestral shrine music] is a precious cultural heritage, which has been played till now since two great kings Sejong and Sejo who made it. But going through Japanese occupation, Jongmyo Jeryeak has been changed into a music totally different from the music the two kings intended. And the changed Jongmyo Jeryeak is being played these days. The original Jongmyo Jeryeak, which was made by the two kings, remains in old music scores. Therefore there is a need to investigate the differences between the original and current Jongmyo Jeryeak by interpreting the old music scores and recovering the original. This paper recovers the origianl Jongmyo Jeryeak from the music score Daeakhubo and compares it with the current Jongmyo Jeryeak. The results are as follows. The origianl Jongmyo Jeryeak is a set of common songs made with Hyangak and Gochiak to sing the verses which extol royal ancestors' virtues. All of the musical elements are matched with the verses so that the meaning of the verses is transmitted naturally. Jangdan musical time musical structure are matched with the structure of verses, and the musical motif of the songs is matched with the meaning of the verses. The music, which is easy and expresses the meaning of the verses well, demonstrates King Sejong's talent as a musician. The current Jongmyo Jeryeak is a set of special songs in which Sigimsae is emphasized rather than the meaning of the verses. The melodies are broken into pieces inconsistently, the meaningless word 'ae' is added thoughtlessly, and Jangdan musical time musical structure are unrelated to the verses. Therefore the meaning of the verses is not transmitted at all. These changes, which were made during the period of Japanese occupation, seem to desecrate the verses of the original songs. The melodies, which are broken into pieces inconsistently, revive into the current mysterious ritual music through Sigimsae. But in order to be a proper ritual music, some corrections have to be made to convey the meaning of the verses.

• The KIPS Transactions:PartC
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• v.10C no.5
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• pp.625-634
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• 2003

More than a decade after its initial proposal, deployment of IP Multicast has been limited due to the problem of traffic control in multicast routing, multicast address allocation in global internet, reliable multicast transport techniques etc. Lately, according to increase of multicast application service such as internet broadcast, real time security information service etc., overlay multicast is developed as a new internet multicast technology. In this paper, we describe an overlay multicast protocol and propose fast join mechanism that considers switching of the tree. To find a potential parent, an existing search algorithm descends the tree from the root by one level at a time, and it causes long joining latency. Also, it is try to select the nearest node as a potential parent. However, it can't select the nearest node by the degree limit of the node. As a result, the generated tree has low efficiency. To reduce long joining latency and improve the efficiency of the tree, we propose searching two levels of the tree at a time. This method forwards joining request message to own children node. So, at ordinary times, there is no overhead to keep the tree. But the joining request came, the increasing number of searching messages will reduce a long joining latency. Also searching more nodes will be helpful to construct more efficient trees. In order to evaluate the performance of our fast join mechanism, we measure the metrics such as the search latency and the number of searched node and the number of switching by the number of members and degree limit. The simulation results show that the performance of our mechanism is superior to that of the existing mechanism.

• Cartoon and Animation Studies
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• s.37
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• pp.197-219
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• 2014

, one of the Disney's animations, hit the 10 million audience mark for the first time in the history of animations released in Korea. not only raised the fever with its theme song, 'Let it go', as well as Elsa, Anna, and Olaf's character products but caused sensations in many ways. If so, we need to think about what kind of meaning did create in Korea to be so sensational. This study examines the value that Frozen intended to deliver and the meaning it generated by using Greimas actant model and semiotic square. From the actant model analysis on Anna and Elsa from , it was identified that Anna desired to recover her relationship with Elsa and to take summer back in Arendelle. Her desires can be interpreted as her love toward Elsa and people in Arendelle. Meanwhile, Elsa always desired freedom although she confined herself because of her ability to freeze. In other words, Elsa desired to free herself from her freezing ability by finding out how to control her ability. Such desires of Anna and Elsa were achieved by their actions of true love, and the solution of all the conflicts in was an action of true love. From the semiotic square analysis on the meaning of , it was found out that created past-oriented value with which characters tried to change their abnormal lives of the present into their normal lives of the past. The characters tried to change their present lives where freezing winter comes in the middle of summer, communication between the sisters is cut off, and people try to take advantage of the abnormal state deliberately, into the past when the sisters had a good relationship and the natural season of summer in Arendelle. The past-oriented value that tried to tell us is similar to our reality. In our reality with a lot of unbelievable news and unstable circumstances, we desire to go back to the past when we were filled with affection and hope even though our lives were tough and difficult. This sentiment must have contributed to the huge success of in Korea.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.4
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• pp.72-85
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• 2009

This study attempts to examine the principles of landscape composition for a 'Suhwon(書院)' and the meaning and value of its traditional landscape architecture, in order to apply the results to the design of modern landscape architecture. A 'Suhwon' is a vital space containing the form and meaning of human activity. This study analyzes the characteristics of landscape composition in the construction of the Namgea Suhwon, located in Hamyang, by examining the form and meaning of its area and composition. The Namgea Suhwon was constructed with a suitable configuration and harmony in a good location, neither field nor mountain, and which encompasses transcendence and a return after passage through a period of birth and abundance. Its appearance means 'life existence and hidden death(生居死幽)'. Its spatial system is a reflection of the idea of Samshinoje(三神五帝: The three abilities of Providence and its five subjects) connected with Ilsangje -Samshin -Ohje. It was built based on the idea of Biryebudong(非禮不動) meaning that one should follow only good decorum and avoid discourtesy, complying with "the frame of decorum" developed by the family rites of Chu Hsi. The environmental design of the Namgea Suhwon was interrupted by the material confrontation between mountains and water and a binary code system, such as front to rear, length to breadth, and movement to stillness. The design did not adhere to stiff axes, but pursued the harmonic principles of asymmetric balance in the building and the yard, which are very naturalistic. The name 'Namgea Suhwon' is closely related with the view of placement(置) and harmony(和), which are unified with the function and meaning formed by connecting Sung Confucianism with the Pungsu-Sasinsa structure in the layout of the grounds. When examining the D/H ratio of the building and yard, it can be seen that the spaces of Ganghak, Yusang and Jehyang were built appropriately, according to the natural characteristics of each space, such as a sense of openness, enclosure, tension, relief, enhancement, and hierarchical order. The spaces also reflect human scale concepts that take advantage of auditory features. The transition process after the construction of 'Namgea Suhwon' reveals the intentions of the builder to create an ecological landscape composition based on Placement and Harmony. Placement embodies' a purposeful space in which nature and the building are connected naturally, 'incomplete open space pursuing completion', and 'potential beauty in which tension and relaxation are repeated'. Harmony embodies 'order and continuity having a sense of unity with the natural environment' and the 'sharing of daily life and memory'. 'Namgea Suhwon' contains many ideas for landscape planning, land use and the design of a campus environment.

• Korean Journal of Construction Engineering and Management
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• v.1 no.3 s.3
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• pp.124-134
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• 2000

In construction projects, the design information, which should contain accurate product information in a systematic way, needs to be applicable through the life-cycle of projects. However, paper-based 2D drawings and relevant documents has difficulties in communicating and sharing the owner's and architect's intention and requirement effectively and building a corporate knowledge base through on-going projects due to Tack of interoperability between specific task or function-oriented software and handling massive information. Meanwhile, computer and information technologies are being developed so rapidly that the practitioners are even hard to adapt them into the industry efficiently. 3D modeling capabilities in CAD systems are enormously developed and enables users to associate 3D models with other relevant information. However, this still requires a great deal of efforts and costs to have all the design information represented in CAD system, and the sophisticated system is difficult to manage. This research focuses on the transition period from 2D-based design Information management to 3D-based, which means co-existence of 2D and 3D-based management. This research proposes a model of a compound system of 2D and 3D-based CAD system which presents the general design information using 3D model integrating with 2D CAD drawings for detailed design information. This research developed an integrated information management system for design and specification by associating 2D drawings and 3D models, where 2D drawings represents detailed design and parts that are hard to express in 3D objects. To do this, related management processes was analyzed to build an information model which in turn became the basis of the integrated information management system.

• Journal of the Korean Institute of Illuminating and Electrical Installation Engineers
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• v.23 no.4
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• pp.16-28
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• 2009

Stage art basically builds upon the essence of "seeing," and at the same time, possesses relativity in showing and seeing. Stage lighting uses artificial light to solve the essence of "seeing", which is the foundation of stage art, and coming into the modern age, its role has been enhanced to an important medium for visual expression in stage art, due to the lighting tools that developed at a rapid pace along with the discovery of electricity, as well as the development of optics. Therefore, not only does lighting use a medium known as light in a field of stage art that gives mental and emotional inspiration to the audience, and aesthetically expresses time and space. In other words, stage lighting is a complex function of light engineering (technology and science) and aesthetic sense (feeling and art). This study aims to do research on methods for the visualization of stage space through lighting, mainly focused on dancing. I have studied the basics of stage lighting, its relations with other fields of stage art, and the functions and characteristics of lighting. Results show that lighting could be used to maximize the visualization of dancing and emphasizing the artistic growth of lighting and its ability to aesthetically express and I came to the following conclusions. First, lighting uses the forms and directions of light that various tools are able to produce in order to visualize the space on stage, and can maximally express the image that the work seeks. Second, it is possible to use lighting, through the movement of light, as a visual representation of the configuration of space in dancing works. Third, through the expression of visual and spatial aspects created by light, the work's dramatic catharsis can bring out mental and emotional feelings form the audience. Fourth, lighting can be seen not as a supporting role, but as an original visual design. To conclude, in order for lighting to be freed form the simple function of "lighting up the stage," which a majority of people think is common knowledge, and grow as one area in art, lighting designers must understand the intentions of the choreographer and the work with creativity and artistry they must consider light and color as an aesthetic language in order to heighten the effects of the work and allow it to partake as one element of work creation, so that lighting will be treated as a form of art.