• Journal of Legislation Research
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• no.55
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• pp.95-136
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• 2018

Marriage forms a minimal social unit. Marriage can affect not only relative relationship but also possession of property. Regarding legal issues related to marriage, mainly the civil law, especially the family law section, regulates. However, marriage has also a significant legal effect in terms of taxation. This article deals with the taxation of gift tax among them. In Korea, if you give more than 600 million won in assets to your husband and wife, the donee must pay the gift tax. However, there has been little research into the influence of the marital property system on the taxation of gift tax on the donation between married couples. There are two legislative approaches to the attribution of property held by married couples. The one is separate property system, the other is community property system. Under separate property system, husband and wife own property separately. The community property system recognizes marital property of married couple as a common property of married couple. The legal property system in Korea is separate property system. However, married couples can adopt the community property system as a marital property system by their agreement. Currently, most Korean couples are subject to separate property system as a marital property system. There is no legal problem to levy the gift tax on the donation between couples who are subject to separate property system. The problem is the donation of asset between couples who are subject to the community property system. In community property system, most property acquired during marriage (except for gifts or inheritances) is considered community property. community property means property owned jointly by both partners. Some argue that the gift tax can not be taxed between married couples who are subject to the community property system. In this paper, we examine whether these arguments are valid.

• Journal of Korean Classical Literature and Education
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• no.39
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• pp.137-180
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• 2018

This article examines the constitutional characteristics of the works in the "Shinbi Apartment" (Mysterious Apartment) series produced by Tooniverse, a domestic animation channel, and considers the meaning of the contents of the ghoststory (鬼神談). The "Shinbi Apartment" series is a horror animation for children. It was produced for the first time in Korea and recorded high ratings. Additionally, it is different from Japanese horror animations that were dubbed and broadcast in Korea in terms of composition and narrative direction, and it succeeds in the form and direction of the traditional Korean ghost story. "Shinbi Apartment - The Secret of Ghost Ball" enriches narrative stories by embracing the structure of the "female ghost story" in traditional ghost stories while following the form of ghosts that suddenly pop up in the daily routines of contemporary ghost stories. The ghost's shape, which has a bizarre and unpredictable aspect, embodies the ghost as the object of fear that modern horror stories intend. However, it does not stop there, but puts the attention on the hero who focuses on the emerging ghost and listens and communicates with it, placing the emphasis of the story on communication, understanding, forgiveness, and reconciliation. The structure and contents of the unique story of "The Secret of Ghost Ball" contribute to the transformation of the ghost into a subject of friendliness and entertainment, not merely as one of shock, fear, and anxiety. Additionally, as the concept of "child" is being created, the custom of modernity, which deals with the story of ghosts in the dimension of teaching and edification, is also manifested in "The Secret of Ghost Ball." In other words, through the figure of the devil, it is to continue the lesson of the story by revealing the adventure, the courage necessary for the "child," and the boundaries for substance and appearance. The "Shinbi Apartment" series has also contributed to the success of ghosts as commercial contents. The structure of the story and its characters have been actively used as educational tools and toys for children. It can be said that ghost culture contributed to this popularization by establishing a base for enjoying ghosts for amusement and entertainment.

• (The) Research of the performance art and culture
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• no.33
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• pp.59-95
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• 2016

The purpose of this study was to examine the text and musical characteristic of , a changgeuk (a Korean traditional opera), by the National Theater of Korea, which was performed overseas with the title of and recognized its artistic values home and abroad alike, focusing on the process of its rebirth from a lost pansori. A changgeuk was dramatized from a lost pansori into a Korean traditional opera. In the process of rebirth of , the content of latter half, which is the performance of a funeral service for the deceased Byeongangsoe, was deleted, and the contents of Ongnyeo's fight against jangseungs in order to take back Byeongangsoe was newly inserted, thus creating textual changes. In addition, as the title presents, Ongnyeo is no longer a conventional lewd woman, but a subjective and independent female who is fighting against fate, different from its original perspective in which the leading character is Byeongangsoe. All the sounds of a changgeuk were made by the creative technique of traditional Korean songs through various attempts, such as inserting chords between performers in order to present most appropriate songs for the opera, namely proper sounds for the hidden side of the opera. In addition, according to the change of mind of performers or characters, the tone and vocal sound of the song were different. In particular, a changgeuk attempted a variety of techniques in the accompaniment of music, and used many sound buks or diverse genres such as popular music, waltz, classic and folk songs of every province, thus presenting challenging attempts. These attempts made the opera more abundant and helped it to be expressed realistically and dramatically. As above, the contents of a changgeuk were borrowed from classical narrations, but its musical aspects got off the technique of traditional changgeuk, thus attempting various changes and techniques. In this vein, it presented a novel modality of changgeuk equiping with the characteristic of 'reviewing the old and learning the new,' thus proposing the directivity and possibility of changgeuk in the present society.

• (The) Research of the performance art and culture
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• no.32
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• pp.209-241
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• 2016

"Women's Nong-ak (農樂, Traditional Korean music performed by farmers)" was born together with "Maiden group." This study focuses on the reason why women appeared as principal agents of Nong-ak which was almost exclusive to men previously and especially, on the appearance of women Nong-ak Artists who was previously worked in Traditional Drama Troupe. This study empirically deals with details of activities of Maiden's (娘子) Nong-ak troupes and Girls' (少女) Nong-ak troupes through newspaper articles. Women Nong-ak Artists enjoyed popularity with their peculiar attractions. Participating in Nong-ak contests and collecting money for their performances, women Nong-ak Artists learned their skills form masters of Woodo Nong-ak and attracted attention with their colorful costumes. Women of Nong-ak circle especially saw through the trend of the time, expanded their arena of activities and exercised flexibility and ability to react quickly to changing situations while mixing with various genres. In particular, young girls were mobilized to show value and marketability of Korean culture as cultural medium who decorated "Pure Nong-ak art stage." They were no different from "Pretty dolls dancing like angels" who could not purse their interest and economic benefit or incite political cause and their patrons were domestic and overseas political figures. Women artists, who put Nong-ak on the stage in the name of Maiden's (娘子) Nong-ak troupes and Girls' (少女) Nong-ak after the liberation from Japanese colonial rule, contributed to expansion of market base. Women Nong-ak artists, who dominated a century in such troupes as Sadangpae, Hyuprulsa, Maiden's (娘子) Nong-ak troupes, Girls' (少女) Nong-ak troupes and Women Nong-ak troupes, were the very heroines who overturned the conventions of "male predominance (男尊女卑)" which filled Nong-ak arena and cultivated a new tradition of Nong-ak culture.

• The Journal of Korean Philosophical History
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• no.25
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• pp.381-410
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• 2009

It is a very important book about painting theory, that "Xuanhehuapu"(宣和畵譜) was wrote by Emperor Huizhong(徽宗) in Song Dynasty. Fundamental discussions and studies in the relation of socio-economical base in Song Dynasty are still more needed. And accordingly, it is necessary to advent upgraded aesthetical articles. Li xue(理?) deeply influenced upon paintings and its theories in Song Dynasty. Similarly, Taoism(道家) and Zen Buddhism(?宗) also did. But some people who have not found "Xuanhehuapu" important meaning and rich and complicated aesthetic thought, gave low and even negative valuation to it. There is rich aesthetic in "Xuanhehuapu", which is not as simple and narrow as some people imagined. It was deeply influenced by the aesthetic thought of Confucianism(Lixue 理學), Taoism(Zhuangzi 莊子) and "Zhouyi"({周易}). I will be analytical in a few aspects "Xuanhehuapu" of aesthetics thought. 1. The calligraphy and painting is one flesh. 2. learn a good lesson from painting. 3. The handicrafts(Art, 藝) and Tao(道) unify. 4. It is a Art taxology. 5. It use a new art criticism methods.

• (The)Study of the Eastern Classic
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• no.70
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• pp.211-255
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• 2018

A classical lyrics novel 'Jeobuin-jeon' is basically old Korean novel in aspect of contents even though it has lyrics for a song formally. In other words, it shows classic poetry but also expends its genre to novel 'Jeobuin-jeon' which belongs to Jae-yeon Park's selection, presents 'Analects' at a book cover and writes its title inside. In addition, it rewrites the story of 'Jeobuin-jeon' at the beginning that means it is novel. It is considered there might be an unclear reason why it could not be marked as an novel outside. 'Jeobuin-jeon' of Jae-yeon Park's selection helps readers grasp the novel by adding Chinese characters for additional explanation based on Korean characters depending on cases. Used words in this novel is estimated being written from the late $19^{th}$ century to the beginning of the $20^{th}$ century. 'Jeobuin-jeon' is assumed being written by woman as it emphasizes that woman should learn letters and take care of the relationship among parents-in-law, husband, sibling, servant and daughter-law. Besides, this novel intends to punish bad characters through 'Jeobuin's good manners by including afterlife-story with 'Bulddong-Aemi'. 'Jeobuin-jeon''s narration is 7 steps and it reaches the peak when 'Bulddong-Aemi' and 'Jeobuin' changes their life each other. Afterward, 'Jeobuin' meets her parents-in-law and passes the crisis. The story ends through 'Bulddong-Aemi' is punished. It is very creative by developing the story with looking back the past would make a change in narration.

• (The)Study of the Eastern Classic
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• no.50
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• pp.89-120
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• 2013

The concept of virtue seems to be one of the rare cases where the European and the Chinese traditions coincide. The meaning of the Latin word virtus and of Greek $aret{\acute{e}}$ seems to be similar to the Chinese $d{\acute{e}}$德. Most striking in virtue is that it is a capacity for self-realisation through action which is unique to man. On the other hand, there is something physical about it. It is the strength to do something. This strength overcomes the resistance of what is naturally given, it transforms the world, turns the natural world into a human one. In the Chinese tradition, $d{\acute{e}}$ 德, i.e. virtue, is therefore always connected with $da{\grave{o}}$ 道, the totality of natural forces. In the Chinese tradition, as opposed to the European one, virtue is itself considered to be a natural force that is present in man. This force sustains man's connectedness, unity and harmony with the surrounding world. Things exist through the unity of principle理 and ether氣. But the knowledge of this unity is due to principle. Moral and legal norms are shifted totally to the sphere of principle. Therefore their have found the final dissolution from a heroic models. Above all the classical Confucians, but also the other schools, would reply to this that there is nothing more precise than a concrete successful action. Its result fits the world perfectly. The difference is due to the differing interest of ethical thought. In the case of the Confucians the path is more direct. The actor establishes a precise pattern for other actions. Education therefore lies in detailed knowledge about forms of behaviour, not so much in conceptual differentiation. It is quite possible that generalisation may be a methodical prerequisite for success in this endeavour. That problem, too, is discussed. But the success of conceptualisation lies in the successful performance of individual actions, not in shaping actions in accordance with normative concepts.

• Journal of Intelligence and Information Systems
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• v.27 no.2
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• pp.17-32
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• 2021

Speaker recognition is generally divided into speaker identification and speaker verification. Speaker recognition plays an important function in the automatic voice system, and the importance of speaker recognition technology is becoming more prominent as the recent development of portable devices, voice technology, and audio content fields continue to expand. Previous speaker recognition studies have been conducted with the goal of automatically determining who the speaker is based on voice files and improving accuracy. Speech is an important sociolinguistic subject, and it contains very useful information that reveals the speaker's attitude, conversation intention, and personality, and this can be an important clue to speaker recognition. The final ending used in the speaker's speech determines the type of sentence or has functions and information such as the speaker's intention, psychological attitude, or relationship to the listener. The use of the terminating ending has various probabilities depending on the characteristics of the speaker, so the type and distribution of the terminating ending of a specific unidentified speaker will be helpful in recognizing the speaker. However, there have been few studies that considered speech in the existing text-based speaker recognition, and if speech information is added to the speech signal-based speaker recognition technique, the accuracy of speaker recognition can be further improved. Hence, the purpose of this paper is to propose a novel method using speech style expressed as a sentence-final ending to improve the accuracy of Korean speaker recognition. To this end, a method called sentence sequencing that generates vector values by using the type and frequency of the sentence-final ending appearing in the utterance of a specific person is proposed. To evaluate the performance of the proposed method, learning and performance evaluation were conducted with a actual drama script. The method proposed in this study can be used as a means to improve the performance of Korean speech recognition service.

• Korean Journal of Heritage: History & Science
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• v.54 no.1
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• pp.100-119
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• 2021

This paper has been written to verify the existing theory that districts occurred independently in various parts of the world, including the Korean Peninsula. Song Giho (2006) claims that the origin of the Gudle, is an example of polygenism that occurred in various areas in the world, including the Korean peninsula. This argument has been corroborated by a large number of researchers. However, it is difficult to understand the lineage of Gudle and its process of development, if a theory of polygenism is continued to be taken into account. The place which is targetet by this theory is the North-West area of the Korean peninsula, south of Primorsky Krai, and in the northern area of Zabaikal-Mongolia. This means that these areas developed independently because they were far from each other and had no direct cultural relationship. However, the structure of Gudle, shape, and assemblages of earthenware it cannot be explained by polygenism, as they are the same in every place. Furthermore, it is also questionable as to the timing and region of emergence of the culture in East Asia over a limited time frame of 3-2 BC. Gudle are formed by furnaces with roofs and walls, Gorae, which saves heat, and it has smoke ventilation that draws smoke out. Therefore, the Gudle is not a structure that anyone can make without advanced technical understanding. So far, the only facility with furnaces and smoke ventilation that appear before the Gudle is Buttumak. Thus, the Gudle is likely to have been invented in the place where Buttumak were used. The area as known for the origin of Gudle was observed to verify the existence of the Buttumak's structure, but none of these facilities were found. The Gudle suddenly appeared within a new culture that had never existed before. That means that none of the three places had the conditions under which the Gudle could be invented, so it must have been introduced from outside. In conclusion, the three places that I mentioned above are not the origin of Gudle. So, the origin of Gudle has to be found elsewhere.

• Journal of the Daesoon Academy of Sciences
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• v.37
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• pp.53-105
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• 2021

The purpose of this study is to clarify the meaning of Gwonji (權智, Authority and Foreknowledge) through the phrases contained in the section, Gwonji of the Jeon-gyeong (known in English as The Canonical Scripture), and to compare the changes that each verse from Gwonji underwent by juxtaposing it against the sixth edition of Daesoon Jeong-gyeong (which was published prior to the Jeon-gyeong) to explore the term's literary meaning. In order to save the world, Sangje descended to human world and performed the Cheonjigongsa (Reordering Works of the Universe) for nine years with the power he exercises over the Three Realms of Heaven, Earth, and Humanity. Based on the plan set by the Cheonjigongsa, Sangje's teachings were spread to humanity and provided as the basis for building the earthly paradise. From this perspective, this study demonstrates its significance by providing a comprehensive approach to the Jeon-gyeong by highlighting the subject of Sangje's authority and wisdom as recorded in the section titled Gwonji. There is also value in the variant verses from Gwonji that the study discovered by comparing and analyzing the phrases from chapters one and two of Gwonji as they appear in the Jeon-gyeong with their equivalents from the sixth edition of Daesoon Jeong-gyeong, which was published in 1965, nearly a decade before Daesoon Jinrihoe's publication of the Jeon-gyeong in 1974. The results of this comparative study of parallel passages related to Gwonji are as follows: First, Gwonji can be understood as the authority and wisdom of Sangje, and this is the core element in realizing the Earthly Paradise through His Cheonjigongsa. Second, phrases related to Sangje's authority and wisdom are spread out in the seven sections of the Jeon-gyeong, and they were written to emphasize the main purpose suggested in each section or chapter. Third, in sections other than Gwonji, the great power of Sangje is exercised to treat matters related to deities and social problems, whereas in Gwonji part, it is dedicated to the performance of Cheonjigongsa. Fourth, there are five sections of the Jeon-gyeong which are organized into chapters. All of these sections and their chapters indicate the year when key events transpired. Fifth, when passages from chapter one of Gwonji is compared to parallel passages from Daesoon Jeon-gyeong, there are several verses that vary in terms of their wording and also sentences that indicate a different dates or times for certain events.