• The Journal of the Korea Contents Association
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• v.7 no.6
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• pp.135-143
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• 2007

Dir.Guilermo del Toro, born in Mexico and started his career as a special make up artist, has been valued as one of most creative directors over the world since he went through hardship to adjust himself in Hollywood system. Del Toro as director has had interesting development in the boundary between Hollywood system' demand and creator(auteur)'s self-consciousness from the his first film to currently . His works reflect his Catholic view of the world. Del Toro like to have the variation of convention on his works from the classics to modern films in order to approach audience easily. He adopts plots and symbols from Bible, mythology and ancient tragedy as same reason. After then, Del Toro constructs his creativity on it. Thus, his works are consist of combination between universality and creativity. This is the reason why His works are making success both criticism and box office hit.

• Journal of the Daesoon Academy of Sciences
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• v.40
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• pp.303-336
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• 2022

'Otherness' is a major philosophical concept in modern Western thought. It has been a force through which the concept of a subject's rights emerged. This paper focuses on Emmanuel Levinas' discussion of 'otherness.' Levinas emphasizes our ethical responsibility for others, which is meaningful in that it can be applied as a paradigm of communication for use in modern society. In the context of modern times and multicultural societies, it is important to recognize the diversity of others and to promote coexistence. Coexistence at this time should be 'unifying' rather than subject-centered. This paper attempts to understand this narrative. An epic is a cognitive process that constitutes the fundamental desires and experiences of humans. Humans try to project and understand themselves through narratives. The possibility of coexistence with others can be examined by analyzing otherness as found within those narratives. Therefore, this paper suggests the possibility and direction of coexistence by analyzing the storytelling that establishes relationships by shaping characters in Guillermo del Toro's film, Shape of Water.

• Spatial Information Research
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• v.10 no.2
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• pp.263-273
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• 2002

This paper presents desirable water environmental management to a closed watershed. In order to obtain spatially distributed environmental information, GIS data have been used. Elevation data are used to extract stream channels automatically and to divide networks of a watershed. A Digital Elevation Model (DEM) has been developed, validated, and adopted to estimate the runoff of total nitrogen pollutant from watershed. This GIS-linked model can be applied effectively to the watersheds with many sub-streams, and for the estimation of pollutant runoff considering land use change.

• Journal of the Mineralogical Society of Korea
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• v.6 no.1
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• pp.17-26
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• 1993

Mineralogical characteristics of tosudite from the Sungsan and Bubson mines were studied and correlated using X-ray diffraction analysis, chemical analysis and electron microscopy. Tosudite occurs as an alteration product of Cretaceous volcanoclastic rocks in both mines. It is associated with microcrystalline quartz, dickite, illite/smectite or mica/smectite mixed-layer mineral. It forms cryptocrystalline aggregates with flaky habit. XRD analysis suggests that tosudite is an 1:1regularly interstratified dioctahedral smetite/dioctahedral chlorite. Bubsoo tosudite has more(00ℓ ) reflections and more periodice stacking sequence than Syngsan tosudite. Chemical analysis shows that tosudite is a Li-bearing aluminous 1:1 regularly interstrattified mineral composed of K-bedellite and donbassite. Cookeite component may be present in the chlorite layer. Bubsoo tosudite is more Al in tetrahedral site and Ca in interlayer, but less Al in octahedral site than Sugsan tosudite. Tosudite may be formed as the intermediate alteration products, forming after muscovite and before illite/smectite or mica/s$^{\circ}C$mectite, with the range from 100 $^{\circ}C$ to 360 ~ 480 $^{\circ}C$. The hydrothermal solution forming tosudite may be acidic solution with high activities of Si and Al.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.135-158
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• 2019

The purpose of this paper is to elucidate the characteristics that make Guillermo del Toro's film Pan's Labyrinth (2006) a fantasy film, and the meaning and function of the labyrinth motifs closely related to it. Tzvetan Todorov defined the 'fantastic' as the hesitation between natural and supernatural interpretations in the face of supernatural events that invade reality. In Pan's Labyrinth, the fantastic continues to be seen, because the film does not allow the hesitation to disappear; thus, the fantastic does not enter the 'uncanny' genre or 'marvelous' genre, and because it keeps its fantastic state. In this case, the labyrinth symbolizes art as a passage into the fantastic world and a space that represents it. Rosemary Jackson saw the fantasy as a "literature of desire to compensate for a lack resulting from cultural constraints" and thus repeatedly dealing with unconscious materials. Del Toro's film shows the character of the fantastic as an expression of desire by allowing 'family romance' to take place in the fantastic world. In this case, the labyrinth symbolizes the mind as a place of desire. Kathryn Hume defined fantasy as a reaction to reality, like mimesis, and 'departure from consensus reality.' The film, operating in a 'vision' genre, satisfies its definition by allowing the fantastic world to illuminate the reality world through 'contrastive' technique, and brings out the fantastic it has. In this case, the labyrinth symbolizes the world as a mirror of the world of reality. Thus, Pan's Labyrinth is representative of fantastic film in that the fantastic functions very effectively, and the labyrinth appearing in this film can be evaluated as a motif that is full of meaning by symbolizing all three elements of art, world and mind. The significance of this paper is to shed light on how a motif works in a particular genre through the above considerations.

• Journal of the Mineralogical Society of Korea
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• v.4 no.1
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• pp.1-10
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• 1991

Tosudite from the Sungsan mine, Korea is an alteration product of rhyolitic tuff in the cretaceous Hwangsan Formation. It is associated with illite, dickite, nacrite or quartz and also found in the cavities of black claystone. X-ray diffraction and chemical analyses show that the Sungsan tosudite is a lithium-bearing aluminous 1:1 regularly interstratified mineral of di, dioctahedral chlorite and smectite. Its structural formula is $(K_{0.73}Na_{0.02}Ca_{0.07})(Si1_{13.23}Al_{2.77})(Li_{0.52}Mg_{0.08}Mn_{0.01)Fe^{3+}_{0.07}Al_{12.33})O_{40}(OH)_{20}$ and it suggests that Sungsan tosudite consists of regularly interstratified Li-donbassite and beidellite. DTA and TG curves as well as IR absorption data also support such a result. Temperature of formation of tosudite is inferred to be between $110{\circ}$ and $270{\circ}C$.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.4
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• pp.49-57
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• 2022

This study was conducted with the aim of investigating the garden architectural characteristics of Villa d'Este, which occupies a major role in the exploration of the contrasting background, location, and spatial composition characteristics of Italian Renaissance gardens. The survey for the study was divided into a literature survey and a field survey, and the details are as follows. First, in the mid-to-late 16th century, the villa was built under the direction of Cardinal Ippolito d'Este, and afterwards, the ownership of the villa was restored to the Italian government in 1850 due to financial difficulties. The Villa d'Este, which suffered another damage, is now operated with many visitors after going through the restoration process. Second, in the case of location, it has the characteristics of Urbana located in the city center and has valley-type topographical conditions located at the foot of the mountain.Third, in the case of spatial composition, it is orthogonal to the axis, and each part of the garden is developed, influenced by the contrast principles such as the installation of the Cortile del Belvedere and Villa Madama in the early 16th century. The main building is located in the hills so that you can see the garden and the surrounding scenery at a glance. Fourth, among the components, there were stairs, logia, courtyard, and grotto, fountains, cascades, ponds, and vegetation such as laurels, thorn trees.