• The Zoological Society Korea : Newsletter
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• v.15 no.2
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• pp.3-7
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• 1998

• 건강소식
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• v.34 no.6
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• pp.8-11
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• 2010

스무살 같은 마흔네살 이승환은 나이보다 어려보이는 자신이 잘못된 것은 아닌가 고민하기도 한다. 하지만 옳건 그르건 사람은 자기 방식대로의 삶을 살기 마련이며, 그는 건강하고 온전하게 20년의 음악인 인생을 달려왔다. 그런 그가 새로운 20년을 향해 나아가며 건강과 청춘에 대한 의미를 우리에게 들려준다.

• Lingua Humanitatis
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• v.7
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• pp.123-155
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• 2005

This paper concerns different forms of poetic thinking, each of which attempts to investigating truth of being on the ground of its idiosyncratic feature. The horizon evoked via these practices, however, is the Absolute where any plausibility of communication be fundamentally blocked off. Poetry, for instance, relinquishes its semantic auto-referentiality in order to be expressive of something unsayable. Poetic diction, coming-into-being, and sound with no meaning are those three expressive modes that I will examine in terms of the so-called "poetic thinking."

• Journal of the Korean housing association
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• v.24 no.6
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• pp.133-140
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• 2013

This study is to clarify the form of window and door of medieval times house which are no longer in existence, by comparative analysis between literature materials and architectural remains of united Silla and Goryo period. Particularly the window and door form change process of was analyzed, in connection with the change of term which are recorded in literature material. The form and the composition of window and door are the elements which determine the elevation design of architecture and concerned with interior environment. Therefore this study is significant in the sense that it could be used as base data for the study on the reconstruction and interior space of medieval times house. There were ho (戶) and moon (門) as door, and chang (窓) for lighting and ventilation as window. Among these, the window can be divided into fixed and openable. There were two kind of fixed window. One is called chang (窓), and it was covered by silk or paper for lighting. The other is called ham (檻), it was the form of vertical bar window and lighting and ventilation was available. And there were two kind of openable window. One is called ho (戶), which had wooden plate window leaves. And the other is called changho (窓戶), lighting was available in the condition of closing.

• Korean Journal of Acupuncture
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• v.23 no.4
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• pp.49-57
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• 2006

Objectives : The aim of this study was to show the rationale of point-selection on the methods of acupuncture and moxibustion in the Shin section(in the Naegyeong chapter) of the Donguibogam. Methods : First, We summarized the cause of each disease in the Shin section(in the Naegyeong chapter) of the Donguibogam. Then, We explained the rationale of acupuncture point-selection referring to the cause of disease, physiology of the Oriental medicine, exposition of acupuncture point name, character of each acupuncture points, flow of meridian pathways and specific acupuncture points etc. Results and Conclusions : Total 44 acupuncture points were used in the Shin section(in the Naegyeong chapter) of the Donguibogam. Most of acupuncture points were specific acupuncture points. but, some rationale of acupuncture point-selection were explained by the cause of disease, physiology of the Oriental medicine, exposition of acupuncture point name, flow of meridian pathways etc.

• The Korean Journal of Mycology
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• v.20 no.4
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• pp.360-368
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• 1992

Recorded mushrooms in Chju-do, Korea are composed of 1 division, 2 subdivisions, 4 classes, 3 subclasses, 14 orders, 41 families, 96 genera and 186 species. Because of dual recording of synonyms of 5 genera and 16 species, the numbers of genera and species in the list are 101 and 202 respectively.

• The Korean Journal of Mycology
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• v.1 no.1
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• pp.35-43
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• 1973

저자(著者)는 우리나라산(産) 균심류의 정체(正體)를 구명(究明)하고자 1946년(年)부터 금일(今日)에 이르는 동안 서울시내(市內), 광릉(光陵), 수원(水原), 양양(襄陽), 속초(束草), 설악산(雪嶽山), 목포(木浦), 나주(羅州), 울산반도등지(蔚山半島等地)의 산야(山野) 인가(人家) 노변(路邊)에서 야생균심(野生)을 채집정리(採集整理)하여 기(旣)히 조사발표(調査發表)된 종(種)을 종합(綜合)하여 2문(門), 2강(綱), 3목(目), 12아목(亞目), 22과(科)7아과(亞料), 274종(種)을 보고(報告)하는 바이다. 저자(著者)가 금일(今日)까지 미기록종(未記錄種)으로 사정(査定)한 종(種)은 하기(下記)와 같다. 1. Polysticus flabelliformis (Klotzsch.) Cke. 2. Thelephora palmata (Scopoli) Fr. 3. Russula nigricans (Bull.) Fr. 4. Omphalia sp. 5. Peziza repanda Pers. 6. Wynnea gigantea Berk. et Curt. 7. Helvella crispa (Scop.) Fr. 8. Helvella epipploides Imai 9. Cordyceps militaris (L.) Link

• Journal of architectural history
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• v.17 no.1
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• pp.65-84
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• 2008

It is generally known that the temple structure in Korea was formalized by the ceremonial principle based on the Buddhist cosmology. But, there have been no concrete studies on how far the two have relationship with each other and what significance it implies in it. In other words, even though the temple structure reflects the Sumeru Mount cosmology which is the Buddhist cosmology, there is still uncertain aspects in the relationship between them. This research is a more concrete approach on what kind of corelation the Sumeru Mount cosmology has with the Korean temple structure. For this, the levels of related documents on the Buddhist cosmology and the Sumeru Mount cosmology have been arranged first. Then, on this basis, it is searched with what symbolism the cosmology has been accepted in the temple structure. The temple is a sacred space that holds Buddha and a profane space which the sattva (ordinary people) can approach at the same time. The site of the temple is also a land that is connected to the residence of sattva and a blissful area of prayer that they can be born again through Buddha at the same time. Thus, the double characteristics of sanctity and profanity are finally inter-connected with each other in the view point of Jinsokburi(Truth and Worldliness are not different), and the temple structure reflects this significance through the symbolism very well. Therefore, the correct recognition on the temple structure can be said as an important aspect to understand the purpose of Buddhism.

• The Journal of Dong Guk Oriental Medicine
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• v.6 no.2
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• pp.33-85
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• 1998

In order to find the characteristic medical methods of "BianZhengGiMun" by the author ChenShihTo, we have translated and analyzed the mentioned book. Upon analyses, the following facts were noted : 1) "BianZhengGiMun" is written and composed of case studies. Prescriptive methods described here differ rather from previously known methods, where as our nation's Oriental medicine practitioners refer and consider these methods as miraculous modern methodologies. 2) Book's content has much similarities to "ShangHanLun"'s original text. Moreover, the content is adjusted towards presenting methodologies not coverd in "ShangHanLun"'s text, together with adding more information to conserve "ShangHanLun"'s methods as well as to critique them. 3) Diagnostic methods mainly follow the ZangFuBianZheng(臟腑辨證)'s pattern, where it's recorded information and theories are valid. 4) "BianZhengGiMun"'s proscriptive methods usually follow BuYinShengJin(補陰生津)'s form, where they were appropriate for that period and circumstances. 5) In consideration of all of the above factors, ChenShihTo grasped ShangHan and WenBing(acute febrile disease due to exogenous factor) as WaiGanReBing(外感熱病)'s double sided characteristics, where this corresponds with the current belief. It is believed that this in turn would provide much practical value to the present time.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.4
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• pp.11-31
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• 2019

Taking the painting, 「Landscape of the Jiuqu River in the Wuyi Mountain」 as the study object, which was produced in the middle of Qing Dinasty and collected by the British Library, this paper analyzes the scenery names recorded in the painting, and describes the landscape of the mountain, port and ships, architectural elements, civil elements, character, stone inscription and other scenery in the painting. The investigation results of the cultural landscape properties of each Gok are as follows: According to statistics, there are 28 architectural elements in the painting, including 7 pavilions (25%), 4 temples (14.3%), 3 Colleges and Taoist temple (10.7%), 2 Dowon(道院) and villages (7.1%); 29 civil elements, including 9 holes (31%), 6 Historical Sites (20.7%), 3 Stations(臺) (10.3%), 2 Ferries, 2 Bridges, and 2 Ponds (6.9%), 1 Garden, 1 Gate, 1 Mine(坑), 1 Well and 1 Remains(3.4%). These physical factors and civil factors are the important relics reflected the cultural landscape attributes of Wuyi-Gugok in the middle of the 18th century. Among the shape element in each Gok, the 1^st Gok have 12 shape elements(21.1%), the 5^th Gok 11(19.3%), the 4^th Gok 9(15.8%), the 9^th Gok 8(14%), the 3^rd Gok 7(12.3%), the 6^th Gok 4(7%), the 2^nd Gok 3(5.3%), the 7^th Gok 2(3.5%), and the 8^th Gok 1(2%). Through collation, it is found that the 1^st Gok, 5^th Gok and 4^th Gok have more prominent cultural landscape characteristics. In addition, according to the description of scenic spot types in 『Muisanji(武夷山志)』, there are 38 types of scenery description in the painting, of which, the three scenery of big rock, peak, small rock occupy the vast majority. This reflects the Danxia(丹霞) landform characteristics of Wuyi-Gugok. The cultural connotation of Wuyi Mountain expressed and contained in the painting is analyzed and interpreted, and it is found that the Jiuqu(九曲) River in the Wuyi Mountain has Neo-confucianism culture, Taoism culture, Buddhism culture, Tea culture and so on. In addition, among the 171 scenery names shown in the painting, there are altogether 7 stone inscriptions that are consistent with or have the same meaning as the rock inscriptions site, including 3 for inscriptions praising the landscape, 3 for philosophical inscription and 1 for auspicious language inscription, which is considered as the important basis for the mutual textuality between the pictures and the stone inscriptions.