• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.33 no.3
• /
• pp.16-37
• /
• 2015

As a result of analyzing the forming and the transformations of Seokjojeon Hall garden by linking it to the changes of Deoksugung Palace influenced by the social atmosphere, the Seokjojeon garden can be classified into four phases. The first phase starts from 1896 to 1914. Gyeongungung was built in the late 19th century(1896-1897) as an official palace and Junghwajeon Hall and Seokjojeon Hall was built for Gojong. J.M.Brown was in charge of the construction of Seokjojeon in the beginning but H.W.Davidson saw the end also set up the garden. In the process of forming the garden the incorporating of Dondeokjeon Hall and the demolishing of the west wing corridors of Junghwajeon Hall occurred. At this phase of the garden a statue of an eagle was put up in the garden but was soon taken down. The shape of the garden was quiet simple with a central axial pathway, a round assorted flower bed placed in front of Seokjojeon Hall. The second phase starts from 1915 to 1932 which lasted for 17 years. At the last years of the Great Han Empire the duties of Gungnaebu(宮內府) was transferred to Leewangjik(李王職) in 1911 and a research on the existing buildings was done by Jujeonkwa(主殿課) in 1915. According to the research drawings, the garden still maintained the axial pathway formed in the previous phase but the garden had an asymmetric form. The flower bed was formed in a round shape and an open-knot technique and boundary plantation was applied to the garden. The third phase starts from 1933 to 1937 and is the period when Seokjojeon Hall was made public. By the year of 1932 many buildings of Deoksugung Palace had been demolished in the preparation of the opening of Seokjojeon Hall as a permanent exhibition hall. The central axial pathway still remained in the new garden and added a pond with a turtle statue in the center. The fourth phase starts from 1938 until the liberation from Japan and is the period when Deoksugung Palace became a park. Yi Royal-Family Museum was built and linked to Seokjojeon Hall with a bridge and the garden transformed into a sunken garden. The garden adopted a fountain and a pagora. Despite the minor changes in the after years the garden still posses most of its form from the fourth phase. As we can see the current garden of Seokjojeon Hall is not the same as the initial garden and therefor the importance of this study lies in the fact that modifications to the statements regarding to Seokjojeon Hall garden should be made.

• The Korean Journal of Air & Space Law and Policy
• /
• v.21 no.1
• /
• pp.135-167
• /
• 2006

Air service agreements between EU Member States and third countries concluded by Sweden, Finland, Belgium, Luxembourg, Austria, the Netherlands, Denmark and the United Kingdom after the Second World War infringe EU law. They authorize the third countries to withdraw, suspend or limit the traffic rights of air carriers designated by the signatory States. According to the Court of Justice of the European Communities (CJEC), these agreements infringe EU law in two respects. On the one hand, the presence of nationality clauses infringes the right of European airlines to non-discriminatory market access to routes between all Member States and third countries. On the other hand, only the EU has the authority to sign up to this type of commitment where agreements affect the exercise of EU competence, i.e. involve an area covered by EU legislation. The Court held that since the third countries have the right to refuse a carrier, these agreements therefore constitute an obstacle to the freedom of establishment and freedom to provide services, as the opening of European skies to third countries' companies is not reciprocal for all EU airlines. In the conclusion, in order to reconstruct these public international air law, The new negotiations between EU member states and third countries, especially the US, must be designed to ensure an adequate set of principles, so that Member States, in their bilateral relations with third countries in the area of air service, should consider following three models. The 1st, to develop a new model of public international air law such as a new Bermuda III. The 2nd, to reconstruct new freedoms of the air, for example, the 7th, 8th, and 9th freedoms. The 3rd, to explore new approaching models, such as complex system theory explored in the recent social sciences, to make access world-wide global problems instead of bilateral problems between EU member states and United States. The example will show any lessons to air talks between European Union and ROK.

• The Journal of the Petrological Society of Korea
• /
• v.28 no.3
• /
• pp.157-169
• /
• 2019

Pseudotachylytes, produced by frictional heating during seismic slip, provide information that is critical to understanding the physics of earthquakes. We report the results of occurrence, structural characteristics, scanning electron microscopic observation and geochemical analysis of pseudotachylytes, which is presumed to have formed after the Late Cretaceous in outcrops of the Paleoproterozoic granitic gneiss on the Bulil waterfall of the Jirisan area, Yeongnam massif, Korea. Fault rocks, which are the products of brittle deformation under the same shear stress regime in the study area, are classified as pseudotachylyte and foliated cataclasite. The occurrences of pseudotachylyte identified on the basis of thickness and morphology are fault vein-type and injection vein-type pseudotachylyte. A number of fault vein-type pseudotachylytes occur as thin (as thick as 2 cm) layers generated on the fault plane, and are cutting general foliation and sheared foliation developed in granitic gneiss. Smaller injection vein-type pseudotachylytes are found along the fault vein-type pseudotachylytes, and appear in a variety of shapes based on field occurrence and vein geometry. At a first glance fault vein-type seudotachylyte looks like a mafic vein, but it has a chemical composition almost identical to the wall rock of granitic gneiss. Also, it has many subrounded clasts which consist predominantly of quartz, feldspar, biotite and secondary minerals including clay minerals, calcite and glassy materials. Embayed clasts, phenocryst with reaction rim, oxide droplets, amygdules, and flow structures are also observed. All of these evidences indicate the pseudotachylyte formed due to frictional melting of the wall rock minerals during fault slip related to strong seismic faulting events in the shallow depth of low temperature-low pressure. Further studies will be conducted to determine the age and mechanical aspect of the pseudotachylyte formation.

• Journal of Popular Narrative
• /
• v.25 no.4
• /
• pp.191-221
• /
• 2019

This study aims to analyze the post-humanistic imagination that has emerged as a major academic thesis in Korean literature, especially novels. In particular, this paper focuses on Cho Ha-hyung's two novels Chimera's Morning(2004) and A Prefabricated Bodhi Tree(2008), published in the early 2000s, for intensive analysis. Post-humanism can be seen as an extension of post-modernism that tried to overcome the limitations of modernity and seek to establish a new world view. In particular, this thought pays attention to the comprehensive understanding of how the rapid development of science and technology, which has developed since the 20th century, has changed the view of humanity and human-centered civilization itself. At the concrete level, it is developing in the direction of constructing a new subject idea by reflecting and dismantling Western-, reason-, and male-centered power mechanisms that are the core of modern civilization. Cho attempts to discover and re-illuminate the surrounding figures, non-humans, and objects that were not noticed in the classic works written in the past. This ideological flow reflects the fact that the concept of human beings, which had been dominated by the humanities in recent years, has been completely changed, and the natural science and technology perspective is applied to the discourse field in various ways. From the point of view of post-humanism, objects that have not been classified as humans and objects that were considered inferior to humans should be included in human or comparable levels. These questions generate interdisciplinary research tasks by involving the large categories of philosophy, such as ontology, epistemology and empirical fields, as well as calling for the participation of the entire literature, science and social sciences. Against the backdrop of a disaster-hit world, Chimera's Morning and A Prefabricated Bodhi Tree depict human beings as variants transformed by bio-technology, and creatures made out of the artificial intelligence built by computer simulations. Post-humanistic ideas in Cho's novels provide a reflective opportunity to comprehensively reconsider the world's shape and human identity reproduced in the text, and to re-explore boundary lines and hierarchy order that distinguish between human and non-human.

• Journal of the Computational Structural Engineering Institute of Korea
• /
• v.37 no.1
• /
• pp.67-76
• /
• 2024

In this paper, we present a DIP-MLS testing method that combines digital image processing with a rigid body-based MLS differencing approach to measure mechanical variables and analyze the impact of target location and image resolution. This method assesses the displacement of the target attached to the sample through digital image processing and allocates this displacement to the node displacement of the MLS differencing method, which solely employs nodes to calculate mechanical variables such as stress and strain of the studied object. We propose an effective method to measure the displacement of the target's center of gravity using digital image processing. The calculation of mechanical variables through the MLS differencing method, incorporating image-based target displacement, facilitates easy computation of mechanical variables at arbitrary positions without constraints from meshes or grids. This is achieved by acquiring the accurate displacement history of the test specimen and utilizing the displacement of tracking points with low rigidity. The developed testing method was validated by comparing the measurement results of the sensor with those of the DIP-MLS testing method in a three-point bending test of a rubber beam. Additionally, numerical analysis results simulated only by the MLS differencing method were compared, confirming that the developed method accurately reproduces the actual test and shows good agreement with numerical analysis results before significant deformation. Furthermore, we analyzed the effects of boundary points by applying 46 tracking points, including corner points, to the DIP-MLS testing method. This was compared with using only the internal points of the target, determining the optimal image resolution for this testing method. Through this, we demonstrated that the developed method efficiently addresses the limitations of direct experiments or existing mesh-based simulations. It also suggests that digitalization of the experimental-simulation process is achievable to a considerable extent.

• (The) Research of the performance art and culture
• /
• no.18
• /
• pp.257-282
• /
• 2009

Le $th{\acute{e}}{\hat{t}}re$ musical en $Cor{\acute{e}}e$ est devenu aujourd'hui une mode. Beaucoup parlent de musical, mais beaucoup de musicals sont $mont{\acute{e}}s$ sur la $sc{\grave{e}}ne$ sans des recherches $n{\acute{e}}cessaires$ suffisantes. C'est pour cette raison que la plupart des spectacles musicaux qui sont $cr{\acute{e}}es$ en $Cor{\acute{e}}e$ sont $destin{\acute{e}}s$ en faillite $d{\grave{e}}s$ la naissance. D'ailleurs les musicals $liscenci{\acute{e}}s$ par $l^{\prime}Am{\acute{e}}rique$, la France qui sont $mont{\acute{e}}s$ sur la $sc{\grave{e}}ne$ de $Cor{\acute{e}}e$ aujourd'hui sont assez pour nuire le $march{\acute{e}}$ $cor{\acute{e}}en$ $constitu{\acute{e}}$ autour de musical. Quels sont donc les $probl{\grave{e}}mes$ que posent les musicals $liscenci{\acute{e}}s$? $Premi{\grave{e}}rement$ ils encouragent la mime, pas la $cr{\acute{e}}ation$. En d'autre terme, les musicals $liscenci{\acute{e}}s$ que les $Cor{\acute{e}}ens$ montent sur la $sc{\grave{e}}ne$ ne sont pas les $cr{\acute{e}}ations$ propres chez les $Cor{\acute{e}}ens$, par contre, ces derniers sont $demand{\acute{e}}s$ de suivre ${\grave{a}}$ la mot les indications $dict{\acute{e}}es$ par le droit d'auteur. Les $cr{\acute{e}}ateurs$ $cor{\acute{e}}ens$ ne sont pas libres de $cr{\acute{e}}ation$. $Deuxi{\grave{e}}mement$ les musicals ${\grave{a}}$ la mode ont pouvoir de $d{\acute{e}}truire$ la $diversit{\acute{e}}$ de l'homme. L'homme se $caract{\grave{e}}rise$ par la $diversit{\acute{e}}$ et se $diff{\grave{e}}re$ l'un par rapport ${\grave{a}}$ l'autre. C'est l'essence de l'homme. Tous sont $diff{\acute{e}}rents$. Pourtant le musical qui $r{\grave{e}}gne$ sur tous genres de spectacles d'aujourd'hui de $Cor{\acute{e}}e$ ne laisse pas vivre d'autres genres de spectacles, la danse, le $th{\acute{e}}{\hat{a}}tre$, etc. Seul le musical est $compt{\acute{e}}$. $Troisi{\grave{e}}mement$ le musical ne peut pas nier $compl{\grave{e}}tement$ son origine commerciale. En fait le musical est devenu une chose important depuis des investigations immenses par le gouvernement $d^{\prime}Am{\acute{e}}rique$ pour donner des travails aux gens. Donc, $d{\grave{e}}s$ le $d{\acute{e}}but$, il n'y avait pas de $consid{\acute{e}}rations$ artistiques dans et sur le musical. Comme c'est par le commerce que le musical est $r{\acute{e}}pandu$, s'il y aura un $probl{\grave{e}}me$ quelconque, il est $tr{\grave{e}}s$ possible qu'on cherche ${\grave{a}}$ $r{\acute{e}}soudre$ le $probl{\grave{e}}me$ par la vue de commerce. En comprenant les $probl{\grave{e}}mes$ $mentionn{\acute{e}}s$ $l{\grave{a}}$-dessus, il faut $pr{\acute{e}}parer$ le changement de $march{\acute{e}}$ $cor{\acute{e}}enne$ de musical. Le moyen le plus $su{\hat{r}}$ de se $pr{\acute{e}}parer$ est de trouver la $r{\acute{e}}solution$ dans la culture. Pourtant cette $derni{\grave{e}}re$ ne signifie pas la tradition comme $c^{\prime}{\acute{e}}tait$ le cas $jusqu^{\prime}{\grave{a}}$ aujourd'hui, car les $Cor{\acute{e}}ens$ ne sont pas ${\acute{e}}duqu{\acute{e}}s$ par cette $derni{\grave{e}}re$. La $modernit{\acute{e}}$, disons occidentale, traverse la $Cor{\acute{e}}e$. Donc, la signification du mot 'culture' doit ${\hat{e}}tre$ $bas{\acute{e}}e$ sur la tradition et la $modernit{\acute{e}}$ en $m{\hat{e}}me$ temps.

• Korean Journal of Heritage: History & Science
• /
• v.57 no.1
• /
• pp.126-144
• /
• 2024

The chrysanthemum vine pattern box from the Goryeo Dynasty expresses in great detail the representative features of Goryeo Dynasty lacquerware with mother-of-pearl, such as engraving patterns on the surface of fine mother-of-pearl, expressing vine stems using metal wires, and twisting metal wires to form the boundaries of each patterns. While the lacquerware with mother-of-pearl that remains today from the Goryeo Dynasty has the form of a sutra box and a box with lid, the chrysanthemum vine pattern box that is the subject of this study is in the shape of a box with a separate lid and body, making it difficult to estimate the purpose of production or the stored contents. In this study, we attempted to confirm the formative characteristics of the chrysanthemum vine pattern box in order to confirm its original form, and to investigate its structure and production technique through X-ray transmission. In addition, we attempted to identify the use and production purpose of the box by classifying and comparing the previously known lacquerware with mother-ofpearl from the Goryeo Dynasty by type. As a result of the investigation, fabric was confirmed the bottom of body and inner box through X-ray images. Through this, it was confirmed that the 'Mogsimjeopichilgi'(wooden core grabbing fabric technique) of wrapping the object with fabric was used. And through wood grain, it was possible to confirm the wooden board composition of the part presumed to be the restored part and the part presumed to have had existing Jangseog. In addition, it was confirmed that the joints were connected in a Majdaeim(part to part). Based on the survey results, a total of 14 pieces, including 9 Sutra boxes, 3 boxes, and 2 small boxes, that remain from the Goryeo Dynasty were classified by type and examined for similarity. Among them, there is a "Chrysanthemum Vine Pattern Sutra Box" from a private collection in Japan, a "Black Lacquered Chrysanthemum Arabesque Bun Sutra Box" from the Tokugawa Art Museum, a "Sutra Holder" from the British Museum, and a "Small Box with a Mother-of-Pearl Chrysanthemum Vine Pattern" from a private collection in Korea. The pattern composition of five points was most similar to the subject of this study. As a result of comparing the damage pattern, formative characteristics, and structural features of each part, it is presumed that the sutra holder in the British Museum was transformed into its current form from the original the chrysanthemum vine patterned box. Lastly, in order to confirm the purpose of production, that is, the use of this box, we investigated examples of Tripitaka Koreana printed version produced at a time similar to the social atmosphere of Goryeo at the time. Following the Mongol(元) invasion after the Goryeo military regime at the time, sutras appeared to pray for the stability of the nation and the soul of an individual, and with the development of domestic printing and paper in the 13th century, it gradually coincided with the transition from a scroll to a folded form, and the form of a box changed from a box. It is believed that the storage method also changed.