• Archives of design research
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• v.13 no.1
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• pp.103-110
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• 2000

Hangul came to life as part of the East Asian culture of the Chinese ideograph. Korean letter-culture is starkly different from that of Western letter-culture. In the Orient, letters were sacred and incantory; they were objects of awe, which incorporated elements of the majestic, mysterious, and of ritual. Here we had cultural tradition that acknowledged the intrinsic value of the letters. And it was in this context that Hangul was born as a completely phonetic system of writing. However, the characteristics of Hangul are quite different from those of Chinese ideographs, which are designed to convey a certain meaning. Despite the fact that Hangul is phonetic, its roots lie most definitely in the image of Chinese ideographs. This is something that contrasts with the roots of the Latin alphabet, which have been lost in its long journey of evolution. As a phonetic writing system, a notable characteristic of Hangul is that it has this and the attributes of image. In other words, in that Hangul is a compound, it shares some of the same attributes as Chinese ideographs, but also in that it is a phonetic writing system it is dose to the Latin alphabet. Hangul is definitely a visual writing system that has its origins in the visual culture of Chinese characters as well as being functionally a highly developed phonetic writing system. In short, Hangul has both of these attributes in one writing system. These characteristics of Hangul, for us living in the era of the image, are parts that awaken us to the meaning of existence in our visual culture. Unique among the world's writing systems, the identity of Hangul typography will become none other than the essence of our visual culture.

• (The) Research of the performance art and culture
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• no.25
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• pp.31-56
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• 2012

This paper were reviewed on some problems in the early history of Chinese dance written by scholars of contemporary China. Results of the review, were found the following problems; First, In describe to the early history of Chinese dance, contemporary Chinese scholars do not distinguish myths, legends and historical materials, so the history of ancient Chinese dance makes to mystery, thus, eventually will cause a lack of truthfulness. Second, In order to fill the lack in the early history of Chinese dance, the Chinese scholar often use a drawing of earthenware or mural. However, in certain cases, the same drawing by the other observer to be interpreted differently. In this case, if use as evidentiary material, there is a problem. Third, Most contemporary Chinese scholars usually say that the origins of dance is labor. It is to have originated from materialistic historical view can be said. However, in ancient China, but rather about the origin and function of dance there were diverse views. Therefore, this aspect should be cautious.

• Journal of the Korean earth science society
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• v.32 no.1
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• pp.21-32
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• 2011

Using six-year (2004-2009) SKYNET measurements, MODIS-derived AOTs were validated at five SKYNET sites (Seoul, Chiba, Etchujima, Fukuejima, and Hedomisaki), in addition to climatological analysis of MODIS-derived optical properties over the East Asian domain ($20-50^{\circ}N$, $90-150^{\circ}E$). In so doing MODIS-SKYNET collocated AOT data were constructed if two measurements are taken within 25 km distance and within 30 minute time difference. From the comparison of two measurements, it is demonstrated that aerosol type insignificantly affects the accuracy of MODIS AOT. It is because the aerosol model combining predefined fine aerosol model and coarse aerosol model is used for the retrieval. However, positive bias between MODIS and SKYNET increases as fraction of the coarse aerosol model increases. In addition, MODIS AOT appears to be overestimated in case of lower aerosol loading while the overestimation tends to decrease with increased aerosol loading. Regression analysis between MODIS AOT and SKYNET AOT for 550 nm band yields 0.86, 0.16, and 0.61 of regression slope, intercept, and coefficient of determination, respectively. Those statistical results may draw a conclusion that MODIS AOTs over East Asia carry a reasonable accuracy compared to ground-based SKYNET measurements.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.6
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• pp.85-95
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• 2010

East-Asian intellectual societies in the pre-modem age sustained a holistic system of poem-calligraphy-painting trinity until the coming of Western modernism. Therefore, it has been insisted that the principles of traditional landscape gardening were greatly influenced by those of landscape painting and related literature. This study examined those influences closely to discover the essence of traditional Asian landscape architecture through a comparative study between Chinese landscape painting theory and landscape gardening theory within the dual categories of 'contents(value and meaning)' and 'form(view and spatial structure)'. The most important theme of landscape painting theory in contents category was 'Chi and its Vitality(氣韻生動)'. The matching theme in landscape design field was 'Feng-Shui(風水)' and 'Yi-Jin'g(意境)'. The most important theme of landscape painting theory in formal category was 'the Three Ru1es of Perspective(三遠法)'. And the matching theme of landscape design theory was 'Yindi(因地)' and 'Jie-Jing(借景)'. The most important theme of landscape painting theory in formal category was 'the Three Rules of Perspective(三遠法)'. And the matching theme of landscape design theory was 'Yindi(因地)' and 'Jie-Jing(借景)'. It was found that themes and various principles of both fields were closely inter-related and have much in common in their representation of contents and form. In the close relationship with main art genres like this, the landscape gardening could have been recognized as one of the genres of fine art.

• Korean journal of communication and information
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• v.46
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• pp.37-74
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• 2009

This research is an attempt to investigate cultural identity at the international level. Asia is one of the weakest communities in the world due to discrepancies in terms of political, economic, social and cultural aspects. Additionally, Asia has never been independent in communication flows since imperialist history until the Korean wave emerged at the turn of this century. The Korean wave reflects complex power embedded in postcolonial world in addition to cultural commonality among Asian audiences. I have conducted audience researches on Korean drama fandom in Japan and China. I adopt Lacanian psychoanalysis in order to interpret identity issues of Asian media audiences. Particularly, Deleuze and Guattari's theories are useful to scrutinize group identity of Asian community. Additionally, I refer to theories of nationalism.

• Proceedings of the Korea Water Resources Association Conference
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• 2008.05a
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• pp.304-309
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• 2008

기존의 태풍예측과 관련된 연구들은 전 지구적인 흐름이 직접적으로 계산되지 않은 중규모 기상모형이나 태풍모형들을 이용하여왔다. 하지만 최근 전 세계적으로 전구 규모의 모형들이 40km 이하의 고해상도 모형들이 개발되어 20km이하의 초고해상도 시물레이션이 가능해짐에 따라 지역적인 기상현상들을 전구모형을 통해서 재현해 내고 있다. 따라서 본 연구에서는 고해상도 전구모형을 이용하여 태풍 실험을 하고자 하며, 독일기상청에서 개발된 Icosahedral-hexagonal 격자체계의 GME전구 모형을 이용한 태풍모의 결과를 기상청 태풍 best track과 비교 분석 하였다. 실험에 사용된 모형 분해능은 연직 47layer (7 soil layer 포함), 수평 약 40km와 20km으로 구성되었다. 최근 3년($2005{\sim}2007$)간의 동아시아지역을 지나간 태풍을 대상으로 하였다. 태풍모의 시작시간은 각 TD(Tropical Depression)발생 24시간 전 자료를 이용하였으며, 각 태풍의 소멸 24시간 후까지 모의하였다. GME 모형을 이용한 태풍모의 결과에서 best track의 경우 모의 시작 후 약 168시간 forcast 결과가 매우 유사한 경로를 따라 진행해 가고 있으며, 태풍의 전향이 이루어지는 시각은 ${\pm}3$시간 내외의 오차를 보이고 있다. 태풍경로의 경우 40km 결과에 비해 20km 모의 결과가 best track에 더 가까운 결과를 보이고 있다. 중심기압변화의 경우 40km의 결과가 20km 결과에 비해 변화경향이 유사한 형태를 보이고 있으며, 20km 결과의 경우 중심기압의 변화가 다소 급하게 나타나는 경향을 보이는 특성을 가지고 있지만 40km결과에 비해 최저 중심기압이 더욱 뚜렷하게 나타나고 있으며 특히, MANYI case의 경우 관측값 930hPa보다 더 낮은 911.4hPa의 결과를 보이고 있다. 풍속의 경우도 중심기압변화와 유사한 결과를 보이고 있으나, 최대 풍속의 경우 40km 결과에 비해 20km결과가 관측과의 오차범위가 $2{\sim}3\;m/s$ 내외로 나타나고 있다. 그리고 GME모형의 경우 태풍(TD) 발생 약168시간 이전에 예측이 가능한 결과를 보인다. 이 연구의 결과는 다른 기상모형에서 태풍 강도가 약하게 모의되던 현상이 상당히 개선된 것을 알 수 있으며, 이는 20km 고해상도 GME 모형이 태풍예측모형으로 활용이 간능 할 것으로 사료 된다.

• The Journal of the Korea Contents Association
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• v.22 no.3
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• pp.62-70
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• 2022

This study investigates the temporal structure and movement of floating people near university areas in Daegu metropolitan city, South Korea, before and after Covid-19. In order to determine Daegu's position, the current study compares Daegu and Seoul. The floating population is used as an index to reveal people's various activities in the area known as the local business district, which surrounds the university campus. The information was provided by mobile phone manufacturers. A municipal authority managed a public website where mobile data was made available. Several statistical and visualization techniques were used after the data pre-processing steps. As a result, the floating population fluctuation patterns in both cities in the first half of 2019 and 2020 were comparable. When the Covid-19 diffusion rate in Daegu stabilized in the second half of 2020, the floating population in Daegu increased slightly over the previous year, while the population in Seoul decreased due to the second wave of Covid-19.

• Journal of the East Asian Society of Dietary Life
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• v.17 no.4
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• pp.547-553
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• 2007

The physicochemical and functional properties of tofu prepared with kanghwang(Curcuma aromatica Salab.) were investigated, in order to study the effects of six different commercial coagulants. The coagulant concentrations were determined as 0.3% GDL, 0.3% $MgCl_2$, 1.0% $CaCl_2$, 1.5% $CaSO_4$, 0.45% mixed coagulant, and 1.5% Milky-Mg by pre-experiments. Also, the optimum concentration for the added kanghwang(Curcuma aromatica Salab.) was chosen as 0.01%. The yields of the kanghwang tofu prepared with Milky-Mg, mixed, and GDL coagulants were higher than those prepared with $MgCl_2$, $CaCl_2$, and $CaSO_4$. The pH of the kanghwang tofu prepared with the $MgCl_2$ coagulant was higher than when made with the other coagulants. The turbidity of the kanghwang tofu was highest when it was coagulated with GDL, and moisture content was highest or the of kanghwang tofu coagulated with $CaCl_2$. In the color analysis of the kanghwang tofu, the $L^{***}$ value was highest with the Milky-Mg coagulant, while the $a^{***}$ value was highest and the b value lowest with the GDL coagulant. For the textural properties, the hardness results were in the order of $CaSO_4$ > $CaCl_2$ > $MgCl_2$ > mixed > GDL > Milky-Mg, springiness, gumminess, and brittleness were highest in the tofu coagulated with Milky-Mg. For the overall acceptability of the sensory properties, the Kanghwang tofu that was made using the mixed coagulant had the highest score.

• (The) Research of the performance art and culture
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• no.32
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• pp.489-524
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• 2016

This study examines the birth of a genre, the $Sekky{\bar{o}}bushi$ Misemono Opera, focusing on how it accepted and modernized Katarimono $Sekky{\bar{o}}bushi$. Unlike earlier studies, it argues that Terayama was clearly different from other first-generation Angura artists, in that he rebirthed the medieval story $Sekky{\bar{o}}bushi$ as a modern Misemono Opera. Shintokumaru (1978) was directed by Terayama $Sh{\bar{u}}ji$, a member of the first generation of Japan's 1960s Angura Theatre Movement. It takes as its subject the Katarimono $Sekky{\bar{o}}bushi$ Shintokumaru, a story set to music that can be considered an example of the modern heritage of East Asian storytelling. $Sekky{\bar{o}}$ Shintokumaru is set in Tennoji, Japan. The title character Shintoku develops leprosy as a result of his stepmother's curse and is saved through his fiancee Otohime's devoted love and the spiritual power of the Bodhisattva Avalokitesvara. In this work, Terayama combined the narrative style of $Sekky{\bar{o}}bushi$ with J.A. Caesar's shamanistic rock music and gave it the subtitle 'Misemono Opera by $Sekky{\bar{o}}bushi$'. He transforms its underlying theme, the principle of goddesses and their offspring in a medieval religious world and the modori (return) instinct, into a world of mother-son-incest. Also, the pedestrian revenge scene from $Sekky{\bar{o}}bushi$ is altered to represent Shintokumaru as a drag queen, wearing his stepmother's clothes and mask, and he unites sexually with Sensaku, his stepbrother, and ends up killing him. The play follows the cause and effect structure of $Sekky{\bar{o}}bushi$. The appearance of katarite, a storyteller, propelling the narrative throughout and Dr. Yanagida Kunio is significant as an example of the modern use of self-introduction as a narrative device and chorus. Terayama $Sh{\bar{u}}ji^{\prime}s$ memories of desperate childhood, especially the absence of his father and the Aomori air raids, are depicted and deepened in structure. However, seventeen years after Terayama's death, the version of the play directed by Ninagawa Yukio-based on a revised edition by Kishida Rio, who had been Terayama's writing partner since the play's premier-is the today the better-known version. All the theatrical elements implied by Terayama's subtitle were removed, and as a result, the Rio production misses the essence of the diverse experimental theatre of Terayama's theatre company, $Tenj{\bar{o}}$ Sajiki. Shintokumaru has the narrative structure characteristic of aphorism. That is, each part of the story can stand alone, but it is possible to combine all the parts organically.

• (The)Study of the Eastern Classic
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• no.66
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• pp.331-362
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• 2017

The paintings of the Eight Drunken Immortals refer to the paintings based on an influential poem called "The Song of the Eight Drunken Immortals" by Du Fu, a Chinese poet from the Tang Dynasty. This poem is about the eccentricity of the Eight Immortals known for their love of drinking. The Eight Drunken Immortals have been widely appreciated among East Asian intellectuals, and their stories have also been translated into paintings. Greatly influenced by Li Gonglin's Painting of the Eight Drunken Immortals, people in China have the tendency to create similar scroll paintings, using contour drawing tools. Meanwhile, in Korea, the paintings of the Eight Drunken Immortals have been widely appreciated both as a type of visual art embodying the Drunken Immortals' taste for the arts and as a meaningful object conveying the people's wish for longevity and eternal friendship. According to historical records, the paintings of the Eight Drunken Immortals from the Ming Dynasty were drawn on eight-fold folding screens using a sophisticated ink wash painting technique. In the meantime, the Painting of the Eight Drunken Immortals appreciated by King Jeongjo from the Joseon Dynasty was a colored landscape painting with small human figures on an eight-fold folding screen. Since the recent discovery of Yi Han-cheol's Painting of the Eight Drunken Immortals on an eight-fold folding screen, it has now become possible to imagine how renowned artists such as Kim Hong-do and Kim Yang-gi would have made the narrative figure paintings. In particular, the story of Li Bai, one of the Eight Immortals, was the most famous one often told in the paintings. After the 19th century, there was even an entire panel of narrative folding screen made about Li Bai. As painting manuals and outline drawings were pervasively used, the narrative paintings on Li Bai were mass-produced among commoners. As you can see from this, the Eight Drunken Immortals have been visually represented as thirsty souls who are not disconnected from the world, as honest men of refined taste for the arts, and as protagonists of an object that conveys the people's wish for longevity and eternal friendship. In other words, the paintings of the Eight Drunken Immortals embody multiple undertones: as paintings based on Du Fu's poems and as narrative paintings on the Eight Immortals.