• Cross-Cultural Studies
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• v.53
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• pp.25-49
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• 2018

This study describes how Mishima Yukio applied various classical motifs in his novel, Spring Snow, to reproduce the world of "Miyabi" of the Heian era. First of all, the author's perception of Japanese culture, focusing on his various critiques and essays was studied. Based on Mishima's cultural theory, analysis revealed that Spring Snow was not based on specific works of the Heian era, but rather on the use of the story form from that era. The background of this novel was the early Taisho era. This period coincided with Japan's political transformation from military power to democracy, and miyabi, or elegance. Finally, the title of this work, "Spring Snow" is an expression found in Kinotsurayuki' Waka in Kokinshu. It represents not only the vanity possessed by the "Spring Snow" reflected in the novel, but also fascination with the beauty of Tsurayuki' Waka.

• (The)Study of the Eastern Classic
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• no.34
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• pp.339-362
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• 2009

If we try to define the concept of beauty in the large sense, as Kant and Chaung-tzu all agree, It can not be fixed in the one sense, but whose connotation and denotation should be extended infinitely. In this sense, I would like to say that the beauty is liberty. Aesthetics of Kant is oriented toward subjective and reflexive dimension, while that of Chuang-tzu is oriented toward natural and practical one. The difference between aesthetics of the two philosophers begins from their philosophical methodology. If the transcendental methode which is proper to Kant's philosophy prefers to discriminate and devide everything especially from dichotomic viewpoint by langage. But Chuang-tzu' methode called Za-Mang criticizes such a dichotomic division and langage itself. Even so, the two in the long run agree as to the foundation of beauty. But Kant's liberty is one of will or transcendental, meanwhile that of Chuang-tzu is based on recognize the fact that we are all production of nature. according to Chuang-tzu, in the great beginning, there was non-being. It had neither being nor name. The One originates from it. When things obtain it and come into existence. As the One, Tao is in the excrement and urine. Everything is under the constant flux. All species have originative or moving power. Although the universe is vast, its transformation is uniform. Because all things are one. Vacuity, tranquillity, mellowness, quietness, and taking no action characterize the things of universe at peace and represent the ultimate of Tao and virtue. The material was transformed to be form, form was transformed to become life, and now life has transformed to become death. A basic principle of Chuang-tzu's art is expressed in the phrase "taking off clothes and squatting down bare-backed". The key of Chuang-tzu's aesthetics is to dedicate to the expression of inner spirit instead of physical verisimilitude, and painting should be a spontaneous and instantaneous flow of the brush. Kant's concepts such as "disinterested" and "purposiveness of nature" seem to imply in the long run the unification of nature and human being which is fundament to Chuang-tzu's aesthetics.

• Journal of Korean Classical Literature and Education
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• no.15
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• pp.265-301
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• 2008

In this writing, issued beauty as Hyangga(향가) creative motivation into the focus, its expression modality is discussed and then an aesthetic sense of Sil-la is considered. For its research, in "Samkukyusa"("삼국유사") some Hyangga - , , , - that have phraseologies for beauty meaning are choose for the discuss. First, beauty as Hyangga(향가) creative motivation were expressed by above methods. 1. Beauty as desires for acquisition and confirmation in 2. Beauty that the subject (the writer) looked upon in 3. Beauty that felt pathetic for declining in 4. Beauty that arouse from disillusion in Second, an aesthetic sense of Sil-La in "Samkukyusa"("삼국유사") showed as the above. 1. Physical beauty that Sil-La were attracted by 2. Beauty as the glorified object that Sil-La were attracted by 3. Beauty as the virtue notion that Sil- La were attracted by In consequence, it is discussed that Sil-La had an aesthetic sense as the perfect virtue united the transcendence and the real.

• Journal of Korean Classical Literature and Education
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• no.34
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• pp.5-39
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• 2017

The purpose of this study is to establish genre knowledge that can be used to study classical Korean novels. Genre knowledge is important because it characterizes individual works based on their knowledge, as well as organically links them with the social context. In this study, I suggest that long classical Korean novels with similar contents can be analyzed using genre knowledge and analyze the "register" of the representative work Sohyeonsungrok as an example of a classical Korean novel. In the Sydney school, register connects genre and language. Register comprises field, tenor, and mode in the social context, and ideological meaning, interpersonal meaning, and textual meaning through language. These three meanings help us to understand how experiences are transformed into language, the relationship between participants, and the way a text is organized. Based on these frameworks, this study reveals that the linguistic features of Sohyeonsungrok is "an attitude that accepts a wide range of human emotions and desires and steadily waits for it to be included in norms." Classic Korean novels such as Sohyeonsungrok depict characters who are not wicked even though they cannot fully comply with social norms, and thereby create sympathy for family members living through Confucian ideology. This genre knowledge is useful for understanding the ideological implications of classical Korean novels.

• Proceedings of the KAIS Fall Conference
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• 2005.05a
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• pp.272-273
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• 2005

분리막 기술은 탁월한 처리효율뿐 아니라 안정적으로 용수를 생산할 수 있는 장점이 있기 때문에 용수의 생산을 전통적인 수처리 (Conventional water treatment) 공정에서 역삼투 공정(Reverse Osmosis) 및 나노여과 (Nanofiltration)와 같은 분리막 기술을 활용하는 공정으로 변환하는 추세에 있다. 그러나 분리막 공정은 항상 막오염 현상이 문제점으로 지목되고 있기 때문에 막오염 제어 기술의 확보가 시급한 실정이다. 따라서 본 연구에서는 화학물질의 사용에 따른 2차 환경오염 문제가 발생하는 화학약품이나 물리적인 세정이 아닌 고전압 임펄스 (HVI, High Voltage Impulse) 장치를 이용하여 막오염의 근본적인 문제를 제어하려 한다.

• The Korean Publising Journal, Monthly
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• s.249
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• pp.16-17
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• 1999

새로운 세기를 앞둔 이즈음 세상에는 희망과 불안이 교차하고 있다. 그 가운데서도 지성사적인 공황은 다가올 21세기를 한층 어둡게 만들고 있다. "출판저널"은 21세기에도 여전히 그 빛을 발할 20세기의 고전을 뽑아 21세기로 가는 길목을 밝히는 가로등으로 삼고자 한다. 국내 각 분야 지식인 100인에게 비전공 분야를 포함한 15종씩 추천받았다. 3번 이상 중복추천된 양서 94선, 2번 이상 추천된 국내서 36선, 모두 130선을 소개한다. 한 저자의 책이 여러 종 추천된 경우 2회 이상 추천된 책만을 소개하는 것을 원칙으로 했다. 국내 번역된 책은 번역된 제목을 우선으로 했고, 미번역작은 원제를 달았다.

• Journal of the Korean Society for Aeronautical & Space Sciences
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• v.31 no.4
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• pp.1-7
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• 2003

습공기에 포함된 수증기가 상(Phase)변화를 일으킬 때 잠열이 발생하고 이 잠열은 익형 주위의 압축성 유동 상태량들을 변화시키므로, 이러한 열 증가가 유동에 끼치는 영향에 대하여 수치해석을 통하여 연구 수행하였다. 수치해석은 Rusak 과 Lee [1]가 최근에 연구 수행한 미교란 방법(small-disturbance approach)에 근거하여 이루어졌다. 고전적 핵 생성 모델과 작은 물방울 성장(droplet growth)모델을 이용한 이 방법에서는 비평형 균질 응축과정에서 일어나는 열 방출을 묘사한다. 응축에 의한 열전달, 압축성 유동의 운동에너지, 그리고 유동의 열적 상태량들 사이에서 일어나는 비선형 상호영향을 조사하고, 또한 주어진 문제를 지배가호 있는 상사 파라미터들을 제시하였다. 계산 결과들은 Euler 방정식을 사용하여 얻은 선행 수치계산들과 비교하여 잘 일치됨을 보였다. 상사법칙은 유동 동역학과 응축 상태량들이 상당히 비슷하게 거동하는 다양한 유동 형태들을 제안한다. 압축성 습공기 유동은 유체기계에 사용되는 익형들의 공력 성능을 증가시키는데 응용될 수 있다.

• (The)Study of the Eastern Classic
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• no.35
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• pp.101-133
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• 2009

Shi Zhen Wang has established his own comprehensive poetics; diachronically, he integrated the main theories on poetry from Wei and Jin to Ming and synchronically the major themes and concerns including 'pure and far-off', 'strong and firm', 'Adoration of Tang', 'Adoration of Song', 'gentle and mild', 'manly and broad minded', 'Nothern Song Ci' and 'Southern Song Ci', etc. The constant goal he sought in this integration process was to represent the intrinsic value of the literary on the basis of the absolute and objective standard without leaning toward a certain value. The standards and values, which are originated from the theory of Shenyun, are founded, more exactly, on 'to reach to it with no written word', 'the meaning outside of the meaning', 'intuitional feeling', 'the nature', 'elegance and righteousness', etc. Because of this, he was able to find good points from each work without prejudice and have full use of his critical talents with objective attitude.

• (The) Research of the performance art and culture
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• no.36
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• pp.223-253
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• 2018

The purpose of this study is to examine how the Korean classic novel "Shimcheong-jeon" has transformed in juvenile literature since the 2000s. Classical novels are far from modern and temporal, differ from modern cultures. Classic novels are also different from the lives and thoughts of modern children. It is therefore difficult for modern child readers to easily understand or agree with classical novels. In order for classical novels to have the meaning in the present, it is necessary to pay attention to the encounter between classical novels and children's literature. In the case of "Shimcheong-jeon", unlike other classical novels, there are many creative fairy tales. There are seven kinds of fairy tales that transformed "Shimcheong-jeon". They are diverse in genres such as picture books, fairy tales, and juvenile fiction, and are intended for a variety of ages. These works are described in various perspectives such as, Shimcheong who is full of desire, Shim Hakgyu who is disabled, Ppaengdeog's mother who has maternity and subjectivity, The dragon of the dragon king and Byeogdeog who loves Shimcheong, and Shin Cheong who has a dream. The themes of the works vary. So, These works extend our expectations for classical literature. Fairy tales that transformed "Shimcheong-jeon" reflect the lives of children and youths, this is important because it can reduce the distance between classical novels and children and youth readers. Classical novels are modernized and give new meaning to modern children and youths. And it reflects the characteristics of the novels of Pansori's "Shimcheong-jeon", preserving the value of classics. Tears of Paengdeok is a story that explains the origin of Pansori "Shimcheong-ga", and inserts some lyrics of Pansori, in the case of Cheong, Cheong, Pansori style is used. Although humor is the greatest feature of pansori, there are few of Fairy tales that transformed "Shimcheong-jeon". It is a direction to worry and to orient when transforming "Shimcheong-jeon" into a fairy tale.

• Journal of the Korean Society of Costume
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• v.60 no.7
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• pp.131-142
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• 2010

The ethnic image in modern fashion can be interpreted as a trend of post-modernism, which appeared after modernism's established style. It has relativity, pluralism and variety, and it tries to revive style of the past. This makes style that borrows and combines image and style of different era and culture as distinctive feature, and in turn is expressed by a new image that is combined with the country's clothes. Also, thanks to the customers who are tired of artificiality and convenience, gift of modern science and technology, simple and natural sensitive marketing and being 'raw' are getting popular as new trend. Today's ethnic image is not merely borrowing visual, superficial image of culture and clothes of other ethnic group, but pursuing natural as purely created by human senses rather than being polished. In terms of ethnic image's formative beauty and aesthetic value, foreign and domestic collections are compared. But for domestic image, only Korean ones are researched, and for foreign designer's fashion image, there are ethnic styles of Japan, China and Korea. Although the documents of domestic designers that I investigated is not sufficient, canonic simple being of oriental image that is seen by the westerners is summarized.