• Korean journal of communication and information
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• v.39
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• pp.224-249
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• 2007

This paper tried to examine a relationship between demographic factors(sex, age) and online flaming, and between personality trait(verbal aggression) and flaming. Further, the current study researched the impact of message credibility on significant explaining variables which increase hostile aggressive communication. The research data were collected by a reliable online research center and analysed through SPSS 12.1 software. According to the results, age, sex, and verbal aggression trait were statistically significantly related with flaming. Especially, man, teen age, and the people having high verbal aggression had more frequent flaming behavior than women, other aged people, people with low verbal aggression trait. On the other hand, the message credibility was partially associated with personality trait. The persons who had high verbal aggression trait showed fewer flaming when they met high credible message. This fact might imply that the quality of online contents could decrease online flaming.

• Korean Journal of Heritage: History & Science
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• v.45 no.3
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• pp.238-261
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• 2012

This research was carried out about the Bansu which surrounded the Sunggyungwan(成均館), national university in the Joseon Dynasty to get the main characteristics of the landscape at Korean traditional school campus by analyzing cultural meaning and historical origin. The earliest record about the Bansu was in "The Book of Odes(詩經)" as Bansu was the water flowing near the Ban palace(泮宮). But, in the following time, Bansu has become the symbol of the school which was built by the feudal lords and one of very important elements in the temple-school(廟學) landscape. The Bansu of Sunggyungwan at Joseon Dynasty was the streams flowing at the east and west of the school campus and get together at the south. Sunggyungwan was located in the sacred place which followed the special organization of Bansu at the beginning of the Joseon Dynasty. And, Bansu in Joseon Dynasty was influenced by the Bansu in Song Dynasty(宋), but it was different from the Bansu in Ming and Qing Dynasty which has been formulated as the halfround pond in front of the school. This research tried to find the reason why in the Josenon Dynasty the stream flowing around the school was regarded as the Bansu. Bansu was also regarded as an important element in the public school, Hyanggyo(鄕校) and the private Seowon(書院). According to this research, the streams which flows around the Seowon or the Hyanggyo were found as called Bansu. Water stream around the Hyanggyo and the Seowon in the Joseon Dynasty has to be reconsidered under the deep research on the organization of Ban-su.

• (The)Study of the Eastern Classic
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• no.63
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• pp.9-41
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• 2016

This paper focuses on 'clean(cheong: 淸)' kinds of style terminologies among various style terminologies appearing in Heo Gyun's Seongsushihwa("惺?詩話") and tries to analyze the distinctive points which 'clean(cheong: 淸)' kinds of style terminologies include. In Heo Gyun's Seongsushihwa, 11 of 'clean' kinds of style terminologies, such as "cheonggyeong(淸勁), cheonghryang(淸亮), cheongryeo(淸麗), cheongseom(淸贍), cheongso(淸?), cheongweol(淸越), cheongjang(淸壯), cheongjeol(淸絶), cheongjeol(淸切), cheongchang(淸?), cheongcho(淸楚)," were used. This paper focuses and analyzes 'cheonggyeong(淸勁)', 'cheongjeol(淸切)', 'cheongcho(淸楚)', and 'cheongweol(淸越)' that he suggested through applying to real literary pieces. The result of analysis indicates that 'clean' kinds of style terminologies 'cheonggyeong', 'cheongjeol', 'cheongcho', and 'cheongweol' share the same 1st character 'clean(淸)', yet have distinctive qualities by the 2nd characters. These 4 style terminologies all share 'cheong(淸)' image which means clear and clean, yet each one has the attribute of the 2nd character that indicates each one's individual characteristic. It is apparent that 'Cheonggyeong(淸勁)' reflects the 'gyeong(勁)' image meaning upright and solid and implies poems of poets' steadfast spirit within clear boundary; 'cheongjeol(淸切)' reflects the 'jeol(切)' image meaning either desperation and imminence or pitifulness and sorrow and implies poems of poets' urgent and pitiful emotions within clear and clean boundary; 'cheongcho(淸楚)' reflects the 'cho(楚)' image meaning either delicacy and fineness or slenderness and tenderness and implies poems of poets' beautiful but not luxurious, delicate and tender emotions within clear and clean boundary; and 'cheongweol(淸越)' reflects the image of 'weol(越)' meaning unworldliness and excellency and implies poems, within clear and clean boundary, of excellent appearance and mentality surpassing mundane world. Compared with the 1st character's attributes of the style terminologies which Heo Gyun used, the 2nd characters's attributes do not appear that vivid. Especially, in the case that the 2nd characters have similar meanings, it is not easy to clarify the categories. Indeed, in order to grasp clear and distinctive qualities of style terminologies, the kinds of them need to be initially categorized by the 1st characters, and then sorted by the 2nd characters. In this case, the contents which the 2nd characters of style terminologies indicate should be considered. It is because style terminologies explain both literary pieces' aesthetic qualities and writers' personalities, and because explanations about literary pieces' aesthetic qualities includes not only the conclusive poetic or semantic boundaries which literary pieces' created but also literary pieces' creation processes and expression techniques. Through the style terminologies with Heo Gyun used in Seongsushihwa, it can be aware that he evaluated poems focussing more on the conclusive semantic boundaries that poets' spirits and poems created than expression techniques or creation methods. The overall aspects Heo Gyun's such style criticism has will be checked out in more detail through further studies by examining more materials.