• The Journal of the Korea Contents Association
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• v.22 no.7
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• pp.486-497
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• 2022

The aim of this study was to subdivide and present the units and the standards of knowledge integration in creating the students' integrated knowledge from content knowledge in college writing classes. For these, it analyzed three typical writing textbooks being used in colleges and examined the ways of presentation on forming integrated knowledge by text qualitative analysis methods. The analysis procedure and the presentation followed Creswell's spiral analysis model It is a method model which repeats the procedure from material collection and analysis to presentation circularly. This examination illustrates three dimensions of the units in forming content knowledge. Also, it suggested those should be all treated for the more systematic education: the units of the whole text, the paragraphs, and the sentences. In the next chapter, the standards and contents of knowledge integration were suggested in each process. For the process of knowledge selection, the suitability and the contradictoriness between the text materials and author's thesis were proposed as the standards and contents. For the process of organization and integration, the corresponsive integration, contradictive integration, background integration, synthetic integration were suggested. Finally the procedure knowledge such as correct expression and spelling, source indication were shown for the process of expression and citation. Furthermore, it showed, in terms of expression, the process of paraphrasing frequently practiced in writing textbooks needs to be exercised in the three dimensions including summarization, connection, and interpretation(or transformation). This result, however, calls for the further study about the subdividing processes to enhance the adequateness to writing textbooks in the level of universities and for a more refined syllabus on the systematic knowledge integration. Accordingly, it suggested the tasks mentioned above for further study.

• Journal of Korea Entertainment Industry Association
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• v.15 no.8
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• pp.315-325
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• 2021

Yeonjae(淵齋) Song Byeong-seon(宋秉璿, 1836-1905) was the ninth-generation descendant of Uam (尤庵) Song Si-yeol (宋時烈). During his lifetime, he gained the trust of Yu-rim(儒林) and was called to the court several times. However, he eventually refused an official] post and spent his life cultivating his studies in the wild. When the Eulsa Treaty(乙巳條約) was signed on November 17, Yeonjae pleaded with King Gojong about the abolition of the treaty. And on the morning of December 30, Yeon-jae committed suicide at his old house in Hoedeok(懷德). At this time, Yeon-jae sent the final appeal to the king, leaving a message to the king, the people, and Yu-rim about the restoration of national sovereignty, fulfilling his duties as a leader of Sarim(士林). After that, in 1962, Yeonjae was awarded the Order of Independence Medal of National Founding. Song Byeong-seon's excursions took place throughout his life. 22 long and short travelogues are existed today. The excursions were mainly done by land, so most of them rode horses or mules. He sometimes used floats or kilns. But he sometimes knew how to use the waterways effectively. This is because in some travel reports, routes using inland waterways and sea routes appear. The journey of the series continues all the way to finding the relics of his ancestors. In this process, it is clear that he reaffirmed its mission of succession to the family and promised to be a part of the brilliant feat of the ancestors. In addition, the reading of the scriptures and Neo-Confucian discussion were added to the excursions. His excursions continued as a means of publicizing and expanding the Neo-Confucian worldview. Thus, Yeonjae inherited the spirit of John Wangyangi(尊王攘夷) left by his ancestors, and finally raised the banner of Wijeongcheoksa(衛正斥邪) high. And he resolutely set out on the road to death for the country.

• Advances in pediatric surgery
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• v.7 no.2
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• pp.147-156
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• 2001

Membership qualifications and recognition of the subspecialty training programs by the Korean Association of Pediatric Surgeons(KAPS) have been determined by criteria based on the number of neonatal and total pediatric surgical cases registered, since 1989 (Index cases). The numbers are based on a survey of the 14 founding members of the society by Jung et al. in 1987. The current survey is to review the present status of the index cases from 1997 to 1999 among 36 members of the KAPS. Two surveys were undertaken for this study. In the first survey, cases were collected by the registration form, composed of neonatal(N), important pediatric surgical cases (I), tumor and other similar operations(T) and other common pediatric surgical cases(O). Thirty members responded. and the result was discussed at the Topic Discussion section of the 15th Annual Congress of KAPS, 2000. The second survey analyzed additive data, proposed during discussion at the Congress. Twenty-three members responded. This report is the analysis of the both surveys. The average numbers of the cases/year/surgeon of N, I, T, O and total were 19.5, 51.8, 9.5, 77.1 and 356.5. respectively. The number of index cases(N+I+T)/year/surgeon was 80.8. The ratio of (N+I+T)/total cases was 0.3. Seventeen of 30 members have more than 20 cases of N per year. Twelve members have more than 150 cases, and 13 do more than 100 cases of I per year. Fourteen members have more than 10 cases of T per year. Nineteen and 10 members experienced more than 150 and 100 of index cases(N+I+T) per year. A new list of the index cases and coding system are proposed for the future regular update.

• (The) Research of the performance art and culture
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• no.34
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• pp.315-353
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• 2017

This study examined the music policies of the three kings, Seongjong, Jungjong, and Injo, who were in power for about 200 years from the late 15th century to the early 17th century. These three kings deserve attention in musical history for different reasons. Sungjong published "Gugjooryeui"(1474), "Gyeong-gugdaejeon"(1476), and "Aghaggwebeom"(1493), the typical etiquette books, law books, and musical books that take the most important position in the history of Joseon, so his direction of music policy deserves attention. Jungjong was the king who rose to the throne after there was a revolt against Yeonsangun's tyranny. Injo ascended to the throne by starting a military coup d'etat himself. One may wonder how the aspect of music policies developed by a king, who was crowned by a revolt, is different from other cases. As each of these three kings had different background of enthronement and the contents of music policies in the royal family also developed with different emphasis, this study examined each aspect separately. Sungjong emphasized the importance of music and regarded it important to cultivate officials who know music. To this end, he gave a special order to Yejo(the office of protocol) and this study tried to clarify the contents first. In addition, this study examined the process, contents, and meaning of various modification works related to the revision of the lyrics used in the ceremonies. Jungjong supplemented the institutional aspects of music. This is the result of expressing the will to correct the anomalous and reckless music policies of the period of Yeonsangun. In addition, many words in the lyrics had been about Buddhist doctrines and love songs between male and female, so there were efforts to reform these. As for the period of Injo, this study examined the music policies that were made in the process of resolving the crisis after the war. It was a time when court musicians were scattered after two times of war and it was not possible to hold the national ritual properly, so music policies in this period were different from the ones in stable era. This study covered discussions on the measures to collect lost instruments and scattered musicians. It also looked at how the restoration effort was made in the situation that the music used in ancestral rites was abolished.

• (The)Study of the Eastern Classic
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• no.62
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• pp.231-262
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• 2016

The Jongmyo Shrine(宗廟) of Zhou dynasty was a king's main building where a diversity of rituals were held, such as 'the assembly ceremony between a king and vassals in the morning', and was also called as Taechim(太寢) Nochim(路寢) Jeongchim(正寢) and others. Before Zhou dynasty, the expressions of Taesil(太室) and Sesil(世室) were used, and especially the term of Taesil(太室) is found in the records of the early period of West Zhou. In "Seogyeong(書經)", not only the term of Nochim(路寢) but also the letter of 'chim(寢)' itself is not found at all, but the letter of 'sil(室)' appeared several times in the chapters of "Haseo(夏書)" "Sangseo(商書)" "Juseo(周書)" except for that of "Wuseo(虞書)". "Jwajowusa(左祖右社)" meaning that 'the Jongmyo Shrine(宗廟) which keeps the late king's mortuary tablet is established in the left, and Sajikdan altar(社稷壇) which enshrines a god of land and grains is established in the right' was first mentioned in the part of 'Janginyeongguk(匠人營國 : a master craftsman builds different national infrastructures, for instance, a palace and roads)' in "Donggwangogonggi(冬官考工記)" of "Jurye(周禮)". In addition, so-called 'Jwamyowusa(左廟右社)', that is, "Sajik(社稷) enshrining the god of land and grains is built in the right('右'), and the Jongmyo Shrine(宗廟) in the left('左'). (右社稷 左宗廟)" was mentioned as one of different duties of a Sojongbaek(小宗伯) in charge of ancestral rites, which was recorded in "Chungwanjongbaek(春官宗伯)" of "Jurye(周禮)". And it seems that had affected the mention of "Jwajowusa(左祖右社)" in "Donggwangogonggi(冬官考工記)" appeared thereafter. Many manners scholars including Jeonghyun(鄭玄) since Han dynasty interpreted 'Jwa(左 : left)' and 'Wu(右 : right)' here as the arrangement relation of left and right of Jongmyo(宗廟) and Sajik(社稷), but when it is interpreted as "helping(右=佑 : to help) to sacrifice to a god of land and grains in Sajik(社稷), and helping(左=佐 : to help) memorial ceremonies in Jongmyo(宗廟)." it can correspond with a 'Jongbaek(宗伯)''s duties. 'Jeonmyohuchim(前廟後寢)' is the term that began from the expression that "what's in front is called as an jongmyo shrine(宗廟) and what's back as a bedroom.(前曰廟 後曰寢)" in Jeonghyun(鄭玄)'s annotation explaining the chapter of "Hagwansama(夏官司馬)" in "Jurye(周禮)" and "Wolryeong(月令)" in "Yegi(禮記)". Chaeong(蔡邕), a figure in the same age as Jeonghyun(鄭玄), used the expression that "a court is placed in the front, and a bedroom in the back(前有朝 後有寢)." In the paper, two hypotheses were discussed about the theory about Jeonmyohuchim(前廟後寢). In one hypothesis, it expressed two facilities within a wall; 'a court in the front to deal with governmental affairs, and a comfortable interior space in the back.' In another hypothesis, it refers to two independent and separate buildings of 'an jongmyo shrine(宗廟) building in the front as the area of governmental meetings, and the residential building in the back as the residence area with family'.

• Korean Journal of Heritage: History & Science
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• v.54 no.1
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• pp.52-69
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• 2021

The transcriptions of Buddhist sutra in the Goryeo Dynasty are more elaborate and splendid than those of any other period and occupy a very important position in Korean bibliography. Among them, the transcriptions made on indigo paper show decorative features that represent the dignity and quality that nobles would have preferred. Particularly, during the Goryeo Dynasty, a large number of transcriptions were made on indigo paper, often in hand-scrolled and folded forms. If flexibility was not guaranteed, the hand-scrolled form caused inconvenience and damage when handling the transcription because of the structural limitations of the material that is rolled up and opened. It was possible to overcome these shortcomings by changing from the hand-scrolled to the folded form to obtain convenience and structural stability. The folded form of the transcription utilizes the same principle as the folding screen, so it is a structure that can be folded and unfolded, and it is made by connecting parts at regularly spaced intervals. No matter how small the transcription is, if it is made of thin paper, it is difficult to handle it and to maintain its shape and structure. For this reason, the folded transcription was usually made of thick paper to support the structure, and the cover was made thicker than the inner part to protect the contents. In other words, the forded form was generally manufactured to suit the characteristics of maintaining strength by making the paper thick. Because a large amount of indigo paper was needed to make this type of transcription, it is assumed that there were craftsmen who were in charge only of dark dyeing the papers. Usually, paper dyeing requires much more dye than silk dyeing, and dyeing dozens of times would be required to obtain the deep indigo color of the base of the transcription of Buddhist sutra in the Goryeo Dynasty. Unfortunately, there is no record of the Goryeo Dynasty's indigo blue paper manufacturing technique, and the craftsmen who made indigo paper no longer remain, so no one knows the exact method of making indigo paper. Recently, Hanji artisans, natural dyers, and conservators attempted to restore the Goryeo Dynasty's indigo paper, but the texture and deep colors found in the relics could not be reproduced. This study introduces the process of restoring indigo paper in the Goryeo Dynasty through collaboration between dyeing artisans, Hanji artisans, and conservators for conservation of the transcription of Buddhist sutra in the late Goryeo dynasty, yielding a suggested method of making indigo paper.

• Korean Journal of Fisheries and Aquatic Sciences
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• v.27 no.2
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• pp.107-113
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• 1994

Among the currently recognized pathogenic vibrios, V. vulnificus and V. cholerae non O1 are the most serious bacteria from the point of view of sea food hygiene in Korea. In this paper, the authors compared the hemolytic activities of the crude hemolysin produced by V. vulnificus and V. cholerae non O1 isolated from shellfish collected in Chungmoo, Korea. The authors also attempted to improve the purification method of V. vulnificus hemolysin(VVH) and tried to make antiserum with the purified hemolysin. VVH was produced in abundance in heart infusion broth containing $2\%$ NaCl in a shaking cultivation process(140rpm) at $37^{\circ}C$ for 15 hours. While hemolysin production patterns of V. cholerae non O1 were quite different by the strain during the culture times compared with the V. vulnificus. Hemolytic activity of the VVH on sheep erythrocytes was stronger than those of rabbit, but hemolytic activities of the hemolysin produced by V. cholerae non O1 on rabbit erythrocytes were as much as twice as strong as on those of sheep and horse. VVH was purified by two steps of hydrophobic column chromatography on Phenyl-Sepharose HP with Fast Protein Liquid Chromatography(FPLC). Purification fold and yield of VVH was much improved by changing the elution buffer's pH from 6.0 to 9.8 and adding $1\%$ CHAPS(a zwitter ionic detergent) and $50\%$ ethylene glycol to the 10mM glycine buffer during the repeated hydrophobic column chromatography. Homogeneity of the purified hemolysin was shown by polyacrylamide gel electrophoresis. According to the five times repeated purification results, the specific activity was increased 27500 times and the yield was improved by $23.4\%$ on average. About $250{\mu}g$ of purified hemolysin was harvested from the 2400ml of culture supernatant of V. vulnificus. Molecular weight of VVH was estimated to be 50KDa by the SDS-PAGE and the neutralization scores of the obtained antiserum acting against VVH were $2000{\sim}8500$.

• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.258-277
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• 2020

The purpose of this paper is to examine the paintings and symbols of the Jeju Guandeokjeong murals, Treasure No. 322. Gwandeokjeong Pavilion in Jeju is one of the oldest buildings in Jeju and was built in 1448 during the reign of King Sejong (世宗) of the Joseon Dynasty to serve as a training ground for soldiers. Unlike Gwandeokjeong Pavilions in other regions, Jeju's Gwandeokjeong Pavilion has a long history and is of cultural value due to its beautiful architecture. In addition, it contains various murals which are a further source of attention. There are four murals on the front and back of the two Lintels on the left and right sides of the building. Their contents include of 『The Three Kingdoms (三國志)』 and and on the back. Towards the right, is depicted, with on the back. Based on a replica of the murals from 1976, the plan, style, and age of the Gwandeokjeong Pavilion murals have been studied, together with their meanings. The contents of the mural are broadly divided into five parts, which are identified by the tacit signatures atop the screen, which provide such details as the painting titles. The paintings on the left and right sides of the center appear to inspire the spirit of the military's commerce in order to boost soldiers' morale, protect the country, and protect the people in line with the purpose of Gwandeokjeong Pavilion. The following and figuratively depict guidelines for the behavior and mindset of officials. In particular, is a painting concerned with concepts of longevity and an auspicious (吉祥), which shows how court paintings became popular as folk paintings at that time. The paintings of tangerines and other specialties of Jeju Island, the ritual paintings of Jeokbyeokdaejeon, and the expressions of Mt. Halla (漢拏山) and Oreum (오름) indicate the existence of Jeju artists that belonged to the Jeju government office at that time. The five themes and styles of the murals also show that the murals of Gwandeokjeong Pavilion were produced in the late 19^th and early 20^th centuries.

• Cross-Cultural Studies
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• v.52
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• pp.53-78
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• 2018

In the moral culture of the West, love and justice are two commands with roots in ancient times. One is the heritage of Hebraism, and the other belongs to the tradition of Hebraism and Hellenism. The two concepts are the most important virtues required for preserving stability in society. These two commands are compatible, in an exclusive relationship to each other. To ultimately seek their reconciliation, the precise concept analysis and understanding of each of them should be premised on, due to the multi-layered meaning of implications of the two concepts. To this end, we first have started with a lexical meaning and have done a conceptual analysis of what these two concepts are expressing. We have looked at Paul $Ric{\oe}ur$ in his interpretation of the discourse of love and justice. Finally, we looked at how these two concepts are narrated in literature. Through the literary works of Stendal, Albert Camus, and Dostoevsky, we have seen examples of literary configurations that have been embodied in life. In this way, through conceptual analysis, discourse analysis, and narrative analysis of the two concepts, the following conclusions were drawn. Love and justice were not a matter of choice. We could see coldness and unrealism of a society lacking love or with a problem of unclean love, through Stendhal's and Albert Camus' novels and their actual debate. In addition, in unclean paternalism, risk of the power of love blocking certain a certain touch of justice was also confirmed. So, it was necessary for a healthy future society to explore the possibility of the coexistence of love and justice. We confirmed the possibility of compatibility in a 'considerate balance' wherein the 'moral judgment in situation' is required, as Paul $Ric{\oe}ur$ expressed. This ideal situation may be realized when forms of love involving solidarity, mutual care, and compassion with pain like Dostoevsky are combined with the principle of distributional justice. When Albert Camus pursued justice and eventually faced reality and mentioned the need for mercy, he could have made a moral judgment based on this situation. In the end, love protects justice, and justice contributes to the realization of love. Justice reduces super-ethical love to moral categories, and love plays a role in enabling justice to exert its full force.

• Journal of Sinology and China Studies
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• v.79
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• pp.21-39
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• 2019

This Thesis tries to give insight into the nature of the period contradiction in Beijing during China's modernization period. I would like to compare Lao She's "Camel Xiang Zi" with Liu Zhenyun's "My name is Liu Yuejin" to proceed with my research. Xiang Zi and Liu Yuejin both came from the countryside to the city with the" Beijing" dream. However, due to accidental events, their dreams are frustrated. The accident led them to a fierce struggle for survival, and to conflict with different classes of society. This paper tries to read the changes of Chinese social class in the 20th century twice from the longitudinal aspect, and to give an in-depth insight into the changes of the consciousness of peasant masses. Xiang Zi is naturally simple, sincere and not afraid of suffering. This personality can be traced back to its immediate superiors. But after coming to the city of Beijing, he becomes increasingly self-centered and evil in a number of humiliation and frustration. Liu Yuejin, who inherited Xiang Zi's character, also has a simple side, but does not pay back the money he borrowed from others and make a forcedly. He can't steal much, but he also steals small amounts of money from restaurants while shopping. His wife is taken away by an alumni, and he sometimes molests another's wife. Xiang Zi tried to do well. Liu Yuejin did not try, nor did he want to be corrupted. He was struggling only for survival. Liu Yuejin's son, Liu Pengju, has no strength, diligence, responsibility, and even a simple dream that can be found in his father's generation. He is a degenerate creature who lives day and day without any vision. When we put Xiang Zi, Liu Yuejin and Liu Pengju together, we can see that they are gradually degenerating over three generations. This indicates the collapse of China's farmers' labor. So far, China's capitalist economic development has achieved the myth of rapid growth at the expense of the peasant masses, but it can be seen as an indication that it may be slowly brought to an end by the peasant masses. Meanwhile, Lutu defined the second generation of peasant laborers as new workers. Recently in China, the labor movement and student Marxism have begun to unite, and they are under constant oppression by the Chinese government. It remains to be seen whether workers can change China's future.