• Journal of architectural history
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• v.1 no.1 s.1
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• pp.33-43
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• 1992

The purpose of this study is to investigate the transformation of openings installed on the partition wall between Daechung and Bang, through the case study on MyungRyunDangs of 19 HangGyos in Kyungbuk province. The way to carry out this study was to look through existing situations and to find out transformed traces of the openings in terms of their locations on several floor types. The transformation of the openings was analyzed chronologically into two cases of 'before 18C' and 'after 18C'. i) Before 18C ; the early type had double swing window on the front column spacing and single swing door on the rear, and the later type had swing door on the front column spacing and on openings on the rear. ii) After 18C; the earlist type was the same as the later type of 'before 18C', the next type had swing doors on both the front and the rear column spacing, and the last type had Sabunhap-swing door on the column spacing, iii) Through those transformations, the windows gradually replaced by the doors in the openings.

• Korean Journal of Heritage: History & Science
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• v.40
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• pp.325-355
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• 2007

A national funeral was a ceremony for king symbolizing a country in Joseon. The Gukjangdogam had three practical affairs: ibang and ibang, sambag. Each practial affairs was ready for various implement and finished a national funeral very well. So various important. The Daeyeo and the Gyeonyeo which carried directly the dead from a palace to a burial in the national funeral was a chief implements to handle with careful. All people had to carry heartily him as a Daehaewang which means a previous king. But three practical affairs belonging to the Gukjangdogam made various implements directly or indirectly related in a Daehaengwang and symbolized has authority. They were related in succeeding to the throne. The departure of a funeral in Joseon was a space and a time to appear his authority. The Gukjangdogam progressed it like going in and out the palace in the life. We knew it was ready for the departure of a funeral equalizing to the life and the death. The Gukjangdogam made the best of various implements using in going in and out the palace in the departure. We saw the Confucian view about living and dying through the implements used in the departure. The Gukjangdogam assembled many technicians around the country. They had to make various implements as high-level technicians at certain hour under the supervision of officials. The Gukjangdogam payed and compensated for their labors. There is an indissoluble connection between them. The technicians belonging to three practical affairs were ready for the implements for a national funeral: newly-made and repair, existed-implements use etc. So a national funeral can be called 'the feast of techniques' as well as complexity of techniques' in the Joseon.

• Journal of Nutrition and Health
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• v.4 no.1
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• pp.49-62
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• 1971

한국인(韓國人)의 기초대사량(基礎代謝量)과 1일소비열량(日消費熱量)을 측정(測定)하기 위하여 Douglas씨(氏) ${\ulcorner}$빽${\lrcorner}$과 Scholander씨(氏) ${\ulcorner}$가스${\lrcorner}$ 분석기(分析器)를 사용(使用)하여 넓은 연령(年齡), 직종(職種), 활동(活動)의 영역(領域)에 긍(亘)하여 실험(實驗)을 행(行)하였다. 938 예(例)의 기초대사측정치(基礎代謝測定値)는 Boothby, Fleish, Robertson and Reid 등(等)의 표준치(標準値)와 근사(近似)하였다. 겨울에는 기초대사량(基礎代謝量)은 9.9%의 증가(增加)를 또한 수면중(睡眠中)의 대사량(代射量)은 기초대사량(基礎代謝量)의 약(約) 94%이었다. 또한 Sanborn Metabulator를 사용(使用)하여 1,000 명(名) 이상(以上)의 기초대사량(基礎代謝量)을 측정(測定)하였다. 또한 여러 가지 동작(動作) 활동중(活動中)의 소비열량(消費熱量)이 측정(測定)되었다. 하루의 전소비열량(全消費熱量)은 $3{\sim}7$일간(日間)에 긍(亘)하여 하루 24시간(時間)의 활동상황(活動狀況)을 분단위(分單位)로 기록(紀錄), 집계(集計)하고 이것과 기초대사량(基礎代謝量) 및 개별활동시(個別活動時)의 소비열량(消費熱量)을 참작(參酌), 계산(計算)하였다. 수면중(睡眠中)의 소비열량(消費熱量)은 기초대사량(基礎代謝量)에 준(準)하였는데 사무원(事務員), 교원(敎員), 의사(醫師), 약사(藥師), 점원(店員), 운전수(運轉手), 건축기사(建築技師), 설계사(設計師), 응원사(應園師), 목공(木工), ${\ulcorner}$펜기${\lrcorner}$ 공등(工等)의 1일소비열량(日消費熱量)은 FAO 한국협회책정(韓國協會策定)의 한국인(韓國人) ${\ulcorner}$칼로리${\lrcorner}$에 근사(近似)하였고 ${\ulcorner}$쿡${\lrcorner}$, ${\ulcorner}$웨이터${\lrcorner}$, 농부(農夫), 사공(士工), 기계공(機械工), 석공(石工)은 중등정도(中等程度)의 노동(勞動)의 3,000 ${\ulcorner}$칼로리${\lrcorner}$나 또는 중(重)한 노동(勞動)의 3,900 ${\ulcorner}$칼로리${\lrcorner}$에, 가정주부(家政主婦), 하녀(下女), ${\ulcorner}$디자이너${\lrcorner}$는 여자(女子)의 중등정도(中等程度) 노동(勞動)의 2,200 ${\ulcorner}$칼로리${\lrcorner}$, 간호원(看護員), 청소부(淸掃婦), ${\ulcorner}$쿡${\lrcorner}$ 방(房)바닥연마공(硏磨工)은 중(重)한 노동(勞動)의 2,800${\ulcorner}$칼로리${\lrcorner}$에 모심기 하는 날의 농부(農夫)는 격심(激甚)한 노동(勞動)의 4,100${\ulcorner}$칼로리${\lrcorner}$에 각각(各各) 가까웠다. 여자(女子)일지라도 포제용(鋪製用) 돌까기와 돌날르기는 남자(男子)의 중노동정도(重勞動程度)의 ${\ulcorner}$칼로리${\lrcorner}$를 소비(消費)하였다.

• Sijohaknonchong
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• v.30
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• pp.263-300
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• 2009

Adoration for nature constitutes one of the primary subjects that literature has tackled since the origin of human history. Nature expressed through a poet's subjective imagination is the internalized and reorganized nature. This study examines the view on nature enacted in Ch'o-Jung's three-verse poems (sijo) in light of the traditional views on nature implicated in the ancient three-verse poems (koshijo), which is in line with the long-established Oriental view on nature. To dignitaris(sadaebu) in the Chosun Dynasty, nature appeared as the idealistic subject for moral culture ($shims{\breve{o}}ngsuyang$), which also becomes the literary space where the purity and justice of the world view of Neo-Confucianism(Sungrihak) is contained in the form of the three-verse poem, the lyrical poetic space where the "I" is united with nature by way of "enjoying of wind and moon"($umpungnongw{\breve{o}}i$) and "living in quiet retiremen"($yuyuchaj{\breve{o}}k$), and the object for the poetical perception of the surrounding world. Ch'o-Jung' s three-verse odes are found in Reed pipe ($Ch'oj{\breve{o}}k$), Sixty Five Pieces of Three-Verse Odes (Samhaengshi-$yukshipopy{\breve{o}}n$), Autumn Fragrance ($Hyangginam{\check{u}}n-ga{\check{u}}l$), and The Words of Zelko va Tree ($N{\check{u}}tinamu{\check{u}}i-mal$). This study analyzes 212 pieces of Ch'o-Jung' s three-verse poems chosen from theses books. In Ch'o-Jung's poems, the traditional view on nature expressed in the ancient three-verse poems is rendered in such a way that metaphysical understanding of nature is indirectly transmitted through the objective correlatives found nature. Nature is no longer the object of straightforward utterance, but transformed, displaced, and removed: that way, nature gets objectified to form a complicated and multi-layered structure. In conclusion, the view on nature manifested in Ch'o-Jung's three-verse poems is based on traditional metaphysics. Second, nature is the object of lyrical nostalgia and adoration. Third, nature is imbued with the fundamental affection for parents. Fourth, nature is associated with organic life. Fifth, the nature in Ch'o-Jung's poems reveals the beauty of stillness endorsed in Lao-tse's and Chung-tze's philosophy. And last, nature is the agent for self-realization and meditation.