• Journal of Korean Society of Coastal and Ocean Engineers
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• v.32 no.2
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• pp.135-145
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• 2020

Wave observation is widely used to direct observation method for observing the water surface elevation using wave buoy or pressure gauge and remote-sensing wave observation method. The wave buoy and pressure gauge can produce high-quality wave data but have disadvantages of the high risk of damage and loss of the instrument, and high maintenance cost in the offshore area. On the other hand, remote observation method such as radar is easy to maintain by installing the equipment on the land, but the accuracy is somewhat lower than the direct observation method. This study investigates the data quality of MIROS Wave and Current Radar (MWR) installed at Dokdo and improve the data quality of remote wave observation data using the wave buoy (CWB) observation data operated by the Korea Meteorological Administration. We applied and developed the three types of wave data quality control; 1) the combined use (Optimal Filter) of the filter designed by MIROS (Reduce Noise Frequency, Phillips Check, Energy Level Check), 2) Spike Test Algorithm (Spike Test) developed by OOI (Ocean Observatories Initiative) and 3) a new filter (H-Ts QC) using the significant wave height-period relationship. As a result, the wave observation data of MWR using three quality control have some reliability about the significant wave height. On the other hand, there are still some errors in the significant wave period, so improvements are required. Also, since the wave observation data of MWR is different somewhat from the CWB data in high waves of over 3 m, further research such as collection and analysis of long-term remote wave observation data and filter development is necessary.

• Cross-Cultural Studies
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• v.31
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• pp.371-394
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• 2013

This study aims to know word forms and usages according to personal relationships of 'Kureru Kudasaru' by analyzing dialogues of female speakers. Novels of the Meiji period when there were attempts of a language revolution were mainly used for this study as well as novels of the Edo Period and the Taisho Period. Firstly, the number of examples according to gender differences in the novels was as follows. In case of 'Kureru', female speakers showed a high usage rate in the novels of the Edo period. 'Kureru' was mostly connected with female languages such as 'Naharu', 'Namasu', 'Nansu'. These expressions were not used in the novels of the Meiji Period and the Taisho Period. Although 'Okureru' and 'Okurenasaru' were used in the novels of the Meiji Period, the number of examples of 'Kureru' by female speakers was decreased in the novels of the Meiji Period and the Taisho Period. 'Kudasaru' was predominantly used by female speakers. Especially, female speakers used clearly to show vertical relationships in the novels of the Edo Period and"Doseishoseikatagi"of Meiji 10s. After"Ukigumo", the usage rate of female speakers was decreased but the usage rate of male speakers was increased. Gender differences became gradually smaller. Female speakers in the novels were increased from geisha and relatives such as wife, sister, mother and children to young women, teacher and student. Aspects of benefactive verbs' usages could be summarized as follows. Female speakers at licensed quarters used clearer and more typical expressions according to vertical relationships and gender differences in the novels of The Edo Period than the novels of The Meiji Period and the Taisho Period. In the novels of the Meiji Period, female speakers in a sophisticated social group used benefactive verbs to show strong respect and concern for the other person. In the novels of the Taisho Period, female speakers used benefactive verbs to show respect and concern for the other person according to their areas of outside activities. In the novels of the Meiji Period, female speakers used 'Okureru' when the other person was younger than them and was socially and psychologically close to them. Also, 'O~Nasaru' which was one of respect expressions was used by female speakers. Female speakers used it to older people in the Edo period but they also used it to younger people in the Meiji Period. Examples were not shown in the novels of the Taisho Period. Usages of 'Kureru' 'Kudasaru' according to vertical relationships were as follows. If 'a giver' was an older person, 'Kureru' with respect expressions 'Nasaru' 'Nansu' 'Namasu' was used more than 'Kudasaru' in the novels of the Edo Period. However, many examples of 'Kudasaru' were shown on the novels of the Meiji Period and the Taisho period. In the novels of the Meiji Period, 'Okureru' and 'Okurenasaru' which were expressions included in 'Kureru' were shown. Female speakers used them to older people who were socially and psychologically close to them like family. There were not many examples of 'a giver' and 'a receiver' around the same age. However, 'Kureru' and 'Okureru' were used in a younger group and 'Kudasaru' was used in an older group in the novels of the Meiji Period. If 'a giver' was an younger person, 'Kureru' was mainly used in the novels of the Edo period and "Doseishoseikatagi"in Meiji 10s. However, 'Kudasaru' was used many times in the novels of the latter Meiji Period and the Taisho Period.

• Korean Journal of Heritage: History & Science
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• v.54 no.4
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• pp.152-173
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• 2021

The Large Banner was introduced during the Japanese Invasions of Korea with a new military system. It was a flag that controlled the movement of soldiers in military training. In addition, it was used in other ways, such as a symbol when receiving a king in a military camp, a flag raised on the front of a royal procession, at the reception and dispatch of envoys, and at a local official's procession. The Large Banner was recognized as a symbol of military dignity and training rites. The Large Banner was analyzed in the present study in the context of two different types of decorations. Type I includes chungdogi, gakgi and moongi. Type II includes grand, medium, and small obangi, geumgogi and pyomigi. Each type is decorated differently for each purpose. The size of the flag is estimated to be a square of over 4 ja long in length. Flame edges were attached to one side and run up and down The Large Banner used the Five Direction Colors based on the traditional principles of Yin-Yang and Five Elements. The pattern of the Large Banner is largely distinguished by four. The pattern of large obangi consists of divine beasts symbolizing the Five Directions and a Taoism amulet letter. The pattern of medium obangi features spiritual generals that escort the Five Directions. The pattern of small obangi has the Eight Trigrams. The pattern of moongi consists of a tiger with wings that keeps a tight watch on the army's doors. As for historical sources of coloring for Large Banner production, the color-written copy named Gije, from the collection of the Osaka Prefect Library, was confirmed as the style of the Yongho Camp in the mid to late 18th century, and it was also used for this essay and visualization work. We used Cloud-patterned Satin Damask as the background material for Large Banner production, to reveal the dignity of the military. The size of the 4 ja flag was determined to be 170 cm long and 145 cm wide, and the 5 ja flag was 200 cm long and 175 cm wide. The conversion formula used for this work was Youngjochuck (1 ja =30cm). In addition, the order of hierarchy in the Flag of the King was discovered within all flags of the late Joseon Dynasty. In the above historical study, the two types of Large Banner were visualized. The visualization considered the size of the flag, the decoration of the flagpole, and the patterns described in this essay to restore them to their original shape laid out the 18th century relics on the background. By presenting color, size, material patterns, and auxiliary items together, it was possible not only to produce 3D content, but also to produce real products.

• Korean Journal of Heritage: History & Science
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• v.53 no.4
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• pp.118-135
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• 2020

It is not uncommon in Korea to see the structure and function of a garden remain intact as well as its form. Yi Cheon-bo's Historic House (Gyeonggi-do Cultural Heritage Item No. 55), located in Sang-myeon, Gapyeong-gun, Gyeonggi-do, is considered an example of very valuable garden heritage, although its family history, location, and remaining buildings and natural cultural assets are not fully intact. Along with Yi Cheon-bo's Historic House, this study attempted to explore the possibility of restoration of the forest houses and gardens by highlighting the high value of Yi Cheon-bo's Historic House through research into the typical layout of private households in northern Gyeonggi Province and Gapyeong County, comparative review of aerial photographs from 1954, and interviews with those involved. The results of the study are as follows: In this study, the presence of Banggye-dongmun and Bansukam in the Banggyecheon area, where the location of the garden was well-preserved, was examined across the landscape of the outer garden, while the location of Yi Cheon-bo's Historic House, the appearance of feng shui, and the viewing axis were considered. Also, the appearance of the lost main house was inferred from the arrangement and shape of the Sarangchae and Haengrangchae that remain in the original garden, and the asymmetry of the Sarangchae Numaru and the hapgak shape on the side of the roof. In addition, the three tablets (Pyeonaeks) of Sanggodang (尙古堂), Bangyejeongsa (磻溪精舍), and Okgyeongsanbang (玉聲山房) were used to infer the landscape, use, and symbolism of the men's quarters. Also, a survey was conducted on the trees that existed or existed in the high prices. Incidentally, it was confirmed that information on boards and cultural properties of Yeonha-ri juniper (Gyeonggi-do Monument No. 61) was recorded to a much lesser extent than the actual required standard, and the juniper trees remaining in the front of Haengrangchae should also be re-evaluated after speculation. On the other hand, as a result of estimating the original shape as a way of pursuing completeness of the garden through restoration of the lost women's quarters and shrine, it is estimated that the main house was placed in the form of a '口' or a 'be warped 口' on the right (north) side of the men's quarters. By synthesizing these results, a restoration alternative for Yi Cheon-bo's Historic House was suggested.

• Journal of Environmental Impact Assessment
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• v.32 no.1
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• pp.41-48
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• 2023

This study was conducted to confirm the possibility of a new carbon stock in the Sejong National Arboretum, a major urban greenspace in Sejong-si. This study involved field and ground surveys of 1,336 trees, including 794 Pinus densiflora trees with a diameter at breast height (DBH) of above 5.5cm, which are the most planted in the Sejong National Arboretum, Chionanthus retusus 154 trees planted, Metasequoia glyptostroboides 216 trees, and Aesculus turbinata 172 trees as street trees. Measurements were performed from April to November. Based on the results of the survey, the carbon storage and annual carbon stock were calculated using the annual carbon stock estimation equation used in the forest carbon offset projects. As a result of comparing the carbon stock of the 12cm diameter class, which is the most distributed of four major trees, it was found in the order of C. retusus (0.0136tC/tree), P. densiflora (0.0126tC/tree), M. glyptostroboides (0.0092tC/tree), and A. turbinata (0.0076tC/tree). In addition, the field survey measurement data compared with terrestrial LiDAR measurement data for 20 trees showed a difference of 10.0cm in tree height and 1.7cm in diameter at breast height (p<0.05). In the future, additional carbon stock and annual uptake of other species planted in the arboretum are expected to promote the carbon uptake effect of the arboretum and contribute to the achievement of the national NDC. In the long term, it is also necessary to develop the carbon uptake factor of trees and shrubs mainly used to calculate the exact carbon uptake amount of trees mainly used in urban forests and gardens.

• (The) Research of the performance art and culture
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• no.41
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• pp.219-255
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• 2020

This article was triggered by Victor H. Mair's book 'Painting and performance'. The book explained that Buddhist paintings are common in the area where Buddhism was spread, and there are also performances using them. And although it has nothing to do with Buddhism, it has been shown that this form of performance can be global. However, the problem was not 'Korea'. It was because there was no record or transmission of the corresponding performance soon. In this situation, the landing method of Samcheok stable temple was announced in 2018. On the one hand, the academic community is very pleased, but on the other hand, it is troubled. The worries are summed up as 'synchronic and diachronic universality'. Is the landing method inherited from the Samcheok stable temple a unique type of temple? Otherwise, it is a question of whether it has been passed down or is it universal at the national level. However, prior to this essential question, we do not yet know the full picture of the stable landing method. So this article was prepared to show the overall outline of the stable landing method. There is a 'picture' in common throughout the landing method, and understanding how to operate it in various ways is the first step in understanding the landing method. There are five repertoires (which are called main halls) that are considered important, and more than that. What these repertoires have in common is the narrative structure of a Buddhist character. In this narrative, the most important thing is the revised figure, and it was the earthly method to inform the contents of the revised figure in various ways. In the case of Byeonsangdo, which serves as a clue to the narrative, there was a problem that could not be seen in the evening without light, which required special design. It is the way of shadow play and Yeongdeung. In other words, there are three types of performances in the landing method. The first is the method of using reparation, and the second is the method of using shadow. The third is the way of eternity. This method is not a selection based on the contents of the repertoire, but a selection based on the performance environment. If there is light and you can see the picture, use reparation. However, in the evening, it was impossible to see it dark (when there was no electricity in the past). The use of the visual method as a tool in this method is to confirm the transition to a visual culture that is a step further from the level of culture. Moreover, unlike the epic narrative, the power of the implied image provided an opportunity for viewers to experience the mystery of Buddhism through emotional stimulation.

• Journal of the Korean earth science society
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• v.45 no.3
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• pp.203-213
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• 2024

This study aimed to investigate the seasonal patterns of multiple bar formation in summer and flattening in winter on the macrotidal Sinduri beach in Taean, and to understand the processes their formation and subsequent flattening. Beach profiling has been conducted regularly over the last four years using a VRS-GPS system. Surface sediment samples were collected seasonally along the transectline, and grain size analyses were performed. Tidal current data were acquired using a TIDOS current observation system during both winter and summer. The Sinduri macrotidal beach consists of two geomorphic units: an upper high-gradient beach face and a lower gentler sloped intertidal zone. High berms and beach cusps did not develop on this beach face. The approximately 400-m-wide intertidal zone comprises distinct 2-5 lines of multiple bars. Mean grain sizes of sand bars range from 2.0 to 2.75 phi, corresponding to fine sands. Mean sizes show shoreward coarsening trend. Regular beach-profiling survey revealed that the summer profile has a multi-barred morphology with a maximum of five bar lines, whereas, the winter profile has a non-barred, flat morphology. The non-barred winter profiles likely result from flattening by scour-and-fill processes during winter. The growth of multiple bars in summer is interpreted to be formed by a break-point mechanism associated with moderate waves and the translation of tide levels, rather than the standing wave hypothesis, which is stationary at high tide. The break-point hypothesis for multi-bars is supported by the presence of the largest bar at mean sea-level, shorter bar spacing toward the shore, irregular bar spacing, strong asymmetry of bars, and the 10-30 m shoreward migration of multi-bars.

• Korean Journal of Heritage: History & Science
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• v.56 no.4
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• pp.72-92
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• 2023

As described above, the location of Jagiso eunchon in Goheung-hyeon and the nature of Undae-ri kiln site were examined. Goheung-hyeon's administrative agency was moved to Joyang-hyeon, which is now Joseong-myeon, Boseong-gun in 1395. Therefore, Goheung-hyeon Jagiso Eunchon in Sejongsillok Jiriji corresponding to 1424~1432 should be found in the west of Joseong-myeon, Boseong, where the administrative agency was moved in 1395. Among the four boundaries of Goheung-hyeon recorded in the 『Sejongsillok』 Jiriji, it is recorded as 2-ri by the sea in the south and 8-ri by Nakan in the east. If the current Goheung-hyeon is Goheung-hyeon's administrative agency in the Sejongsillok Jiriji Records Compilation Period, it cannot be the boundary the south and east mentioned above. This is because it cannot be 2-ri from the current Goheung-eup to the sea in the south, and Nakan is close to the north, not the east, as recorded. However, it has already been suggested that Joyanghyeonseong(朝陽縣城), located in Gonae Village, Ucheon-ri, Josung-myeon, Boseonggun is an Goheunghyeon's administrative agency. And if the four-way boundary of Goheung-hyeon was converted into the current distance unit based on this place(Joyanghyeonseong, 朝陽縣城), an approximate result could be obtained even if it did not exactly match. Therefore, it is highly likely that Goheung-hyeon's administrative agency, which was moved to Joyang-hyeon, Boseong in 1395, is Gonae Village, Ucheon-ri, JoSeong-myeon, Boseong. Jagiso eunchon(犾村) in Goheung-hyeon can be interpreted as a "dog-shouting village." It is thought to be a meaning structure of "animal + sound". A place name thought to have the same structure was identified in Jeongheung-ri, west of Ucheon-ri, Joseongmyeon, Boseong. It is the name of a village called Hoeum-dong(虎吟洞), and it is interpreted as the sound of a tiger or the bark of a tiger, which is the same as the meaning structure of Eunchon. However, there is Gaesan Village in the south of Hoeum-dong, and a Buncheong ware kiln site was identified around it. At this kiln site, a fragment of carved Buncheong ware engraved with the character "Eon", which corresponds to the right stroke of the character "Seom (贍)" in the name "Naeseom (內贍)" was identified. A small amount of Buncheong ware and Joseon celadon pieces were also identified. It can be seen that the Buncheong ware paid to the government was made by checking the Buncheong ware with the government name engraved on it. On the west side of Joyanghyeonseong Fortress in Ucheon-ri, joseong-myeon, Boseong, which was the administrative agency of Goheung-hyeon and the area around the Gaesan Buncheong ware kiln site in Jeongheung-ri, where the Buncheong ware paid to the government was, is thought to be Jagiso Eunchon, Goheung-hyeon. Jagiso and Dogiso are located in the four directions based on the administrative agency. Naturally, the location of Jagiso and Dogiso is also determined on where the administrative agency of Hyeon is. Since the Goheung-hyeon's administrative agency in the early Joseon Dynasty was moved to Ucheon-ri, joseong-myeon, Boseong-myeon, it is necessary to naturally find Jagiso and Dogiso in Boseong. In addition, regarding the nature of the kiln site in Undae-ri, the aspects of the excavated relics were considered. As a result, it is believed that the Undae-ri kiln site functioned as a jagiso in Heungyang-hyeon from February 1441 to the 1470s. If so, the "Ye" Buncheong ware, which was collected around Undae-ri kiln No. 7, could be naturally understood.