• Journal of Korean Classical Literature and Education
• /
• no.32
• /
• pp.193-224
• /
• 2016

The North Korean animation is a puppet movie that is adapted The Brother and Sister Who Became the Sun and the Moon, a traditional Korean lore. The quality of this animation is acknowledged because of not only North Korea's considerably advanced animation technology but also the animation's retention of the folklore's traditional essence rather than intention to disseminate ideological propaganda. Nevertheless, the animation reveals the trasformation of its original purpose from general educative intentions for children to the educative concept of salvation by heaven is replaced by salvation by people and cultural education insteadof salvation by heaven. The appearance of the hero Jangsoe is the key adaptation of this animation, and it suggests the main principal of salvation lies in man rather than in heaven. Such adaptation complies with the requirements of children's literature suggested by the North Korea's literary history office. Furthemore the hero Jangsoe as the examplary figure of revolutionary self-reliance ideology and as a leader. Theory of self-reliance literature stipulates that children's literature is used for ideological education that develops people to be successors of revolutionary feats and become active workers for the construction of socialism and communism, therefore it is possible to understand the purpose of the adaptation to reflect the educational aims. This study investigates the change in meaning form the original folktale through such adaptation, and highlights problems related to limiting the meaning implied in "heaven's salvation" in the original story only to the vague meaning of religious hope. This vague implied meaning is considered as "an awareness activity to examine their own existence in the universe". With regard to this, the concept of heaven's salvation that is prevalent in the classic stories can be interpreted as a positive self-belief that enables the use of rationality in any helpless situation that cannot be understood with existing empirical knowledge. It considers that heaven expresses the power that exists in the human mind through self-viability and self-belief. This creates the power of reason in the character to fight against the evil disguised as the mother, in the absence of the real mother.

• Korean Journal of Heritage: History & Science
• /
• v.54 no.4
• /
• pp.152-173
• /
• 2021

The Large Banner was introduced during the Japanese Invasions of Korea with a new military system. It was a flag that controlled the movement of soldiers in military training. In addition, it was used in other ways, such as a symbol when receiving a king in a military camp, a flag raised on the front of a royal procession, at the reception and dispatch of envoys, and at a local official's procession. The Large Banner was recognized as a symbol of military dignity and training rites. The Large Banner was analyzed in the present study in the context of two different types of decorations. Type I includes chungdogi, gakgi and moongi. Type II includes grand, medium, and small obangi, geumgogi and pyomigi. Each type is decorated differently for each purpose. The size of the flag is estimated to be a square of over 4 ja long in length. Flame edges were attached to one side and run up and down The Large Banner used the Five Direction Colors based on the traditional principles of Yin-Yang and Five Elements. The pattern of the Large Banner is largely distinguished by four. The pattern of large obangi consists of divine beasts symbolizing the Five Directions and a Taoism amulet letter. The pattern of medium obangi features spiritual generals that escort the Five Directions. The pattern of small obangi has the Eight Trigrams. The pattern of moongi consists of a tiger with wings that keeps a tight watch on the army's doors. As for historical sources of coloring for Large Banner production, the color-written copy named Gije, from the collection of the Osaka Prefect Library, was confirmed as the style of the Yongho Camp in the mid to late 18th century, and it was also used for this essay and visualization work. We used Cloud-patterned Satin Damask as the background material for Large Banner production, to reveal the dignity of the military. The size of the 4 ja flag was determined to be 170 cm long and 145 cm wide, and the 5 ja flag was 200 cm long and 175 cm wide. The conversion formula used for this work was Youngjochuck (1 ja =30cm). In addition, the order of hierarchy in the Flag of the King was discovered within all flags of the late Joseon Dynasty. In the above historical study, the two types of Large Banner were visualized. The visualization considered the size of the flag, the decoration of the flagpole, and the patterns described in this essay to restore them to their original shape laid out the 18th century relics on the background. By presenting color, size, material patterns, and auxiliary items together, it was possible not only to produce 3D content, but also to produce real products.

• Cross-Cultural Studies
• /
• v.50
• /
• pp.31-51
• /
• 2018

The concept of 'monsters' have become popular, again, in recent times. A number of 'monster narratives' that discuss monsters such as zombies, humanoids, viruses, extraterrestrials, and serial killers have been made and re-made in popular media. Noting such an interesting cultural context, this article attempts, first, to find out some essential prototypical elements of a monster narrative and, second, to relate it with a catastrophic narrative. Correspondingly, the word 'monster' has been used as a conceptual prototype category that denies universal and clear definition, which makes it as one of the most widely used and familiar subjects of the use of metaphor. The prototypical meanings of various monster figures can be converged on a certain creature of being in this way held out as bizarre, curious, and abnormal. The monster figure that surpasses existing normality is also connected to 'abjection,' such as something that is cast aside from the body such as the bodily functions seen in its associated blood, tears, vomit, excrement, or semen, and so on. Nevertheless, both the monster figure and abjection produce disgust and horror in the minds of ordinary spectators or readers of media using this metaphor to heighten excitement for the viewers. The abject characteristic of the monster figure also has something in common with the posthuman figure, meaning to apply to a category of inhuman others who are held outside of the normal category of human beings. In the similar vein, it is natural that the most typical monster figures in our times are posthuman creatures embodied in such forms as seen with zombies, humanoids, cyborgs, robots, and so on. In short, the monster figure includes all of the creatures and beings that disarray normalized humanist categories and values. The monster narrative, in the same sense, is a type of story that tells about others outside modern, anthropocentric, male-centered, and Westernized categories of thought. It can be argued that a catastrophic narrative, a literary genre which depicts the world where a series of catastrophic events demolish the existing human civilization, ought to be seen as a typical modern-day monster narrative, because it also discounts and criticizes normalized humanist categories and values as is the result of the monster narrative. Going beyond the prevailing humanist realist narrative that are so familiar with existing values, the catastrophic narrative is not only a monster narrative per se, but also a monstrous narrative which disrupts and reinvents currently mainstream narratives and ways of thinking.

• Korean Journal of Heritage: History & Science
• /
• v.55 no.2
• /
• pp.102-111
• /
• 2022

Termites are a group of social insects that are one of the primary causes of damage to wooden architectural heritage. Since termite damage impairs the authenticity and structural stability of cultural heritage, it is imperative to prevent it. This study examines the extent of termite damage to wooden architectural heritage as part of efforts to prevent termite damage to nationally designated wooden architectural heritage sites across the country. The extent of termite damage to each cultural heritage was assessed qualitatively and quantitatively and comparatively analyzed by region using the results of the "Investigation on Biological Damage to Wooden Architectural Heritages" conducted by the National Research Institute of Cultural Heritage from 2016 to 2019. It involved 362 nationally designated wooden architectural heritages(25 national treasures, 157 treasures, 180 national folklore cultural heritages) and 1,104 buildings. The results were as follows: termite detection dogs reacted at 317(87.6%) of the 362 wooden heritages, with visible termite damage observed in 185 cases(51.1%). Furthermore, termite damage was confirmed using one of two methods(detection dogs or visual inspection) in 324 cases(89.5%). Of the 1,104 buildings, termite detection dogs reacted at 668(60.5%), while 339(30.7%) showed visible termite damage. Employing one of the two methods, damage was confirmed in 702 buildings(63.6%). The country was categorized into nine regions(Seoul Metropolitan Area, Gangwon, Chungbuk, Chungnam, Jeonbuk, Jeonnam, Gyeongbuk, Gyeongnam, and Jeju) to examine the termite damage rate and the degree of damage to each cultural heritage according to location. Termite detection dogs reacted to more than 70% of the cultural heritage in all regions. Visible damage was minimal in the Seoul metropolitan area(32.1%) and Gangwon(21.4%) but severe in Chungnam(65.6%), Jeonnam(67.3%), and Gyeongnam(68.2%). By quantifying the degree of termite damage of each cultural heritage as a ratio of the absence of termite damage among the total absence, the average termite damage of the cultural heritage across the country was 9.2%. Regional variance analysis showed that the cultural heritage in Jeonbuk and Jeonnam showed a statistically significantly higher degree of termite damage than the cultural heritage in the Seoul metropolitan area, Chungbuk, and Gyeongbuk. This paper comprehensively analyzed termite damage to nationally designated wooden architectural heritage. The findings are expected to be valuable in establishing policies for the preservation and management of cultural heritage sites in the future.

• Korean Journal of Heritage: History & Science
• /
• v.55 no.3
• /
• pp.132-150
• /
• 2022

Designated as a national intangible cultural asset, the fish weir is a traditional fishing method and was a leading fishing tool in Korean coastal fishery. As the littoral sea area fishing vessel fishery developed since the 1970s, traditional fishing methods including fish weirs began to decline. The fish weir has been passed down in the form of tools such as fish weirs, stone weirs, and bamboo weirs. In Namhae-gun and Sacheon City in Gyeongsangnam-do, anchovies are caught using bamboo weirs. A basic bamboo weir consists of a fish trap(balgong), a space where fish gather together, and a V- or U-shaped wooden fence(halgaji) that helps fish come inside the fish trap. Its fishing method is to catch fish that have come to the coast during high tide alongside those are stuck inside fish traps(balgong) with nets or scoop nets. This paper examined the process of passing down traditional fishing methods through a comparative analysis of the bamboo weir structures and fishing methods in the Namhae and Sacheon regions. First, the historical process of assembling the current bamboo weir structure was analyzed. The bamboo weir, a fishing tool, appears to have combined the features of past weirs and fish weirs based on the Jijok Strait and Samcheonpo Strait. Next, this paper examined the structure and fishing method of the two types of bamboo weirs made with a circular or square fish trap(balgong) where fish gather. Through this analysis, this study examined the lives of fishermen who have adapted to their natural environment and actively utilized obtainable resources(materials), and then changed the traditional fishing method of bamboo weirs and developed them into an appropriate technology. Lastly, a new value attributed to anchovies caught using bamboo weirs was analyzed. This new value extracted from better bamboo weir anchovies works as a mechanism to uphold the tradition of anchovy-catching bamboo-weir fishing, which produces a smaller amount of anchovies compared to other methods of anchovy fishing. In this way, bamboo weir fishing has been passed down as a result of its differentiated aspect of producing better anchovies than those produced with other fishing methods, as well as the historical aspect of it being a traditional fishing method.

• Journal of Popular Narrative
• /
• v.27 no.3
• /
• pp.95-124
• /
• 2021

As the symbolic images of girls besides its definition have varied according to the age and society, a posthuman girl character recently appears in the digital cinema. This study aims to analyze its cinematic representations and the social contexts in which they are created. For this purpose, the study focuses on what extent the society allows its imagined figurations as a future female body and the meanings revolving around the image of 'technologically body-enhanced female fighter'. Current digital visualization technology has developed to the extent any imaged future humans can be represented, but posthuman girls' representations have its limitation that only a human-like figuration can be allowed in accord with the traditionally idolized image of girls. It is because of the representation logic in which digital cinema is visualized based on perceptual realism that values audiences' experiences. Despite such less critical figuration which does not dare to cross the boundary between the image of human and inhuman, the posthuman girl characters create a new category of the 'dangerous girls' who are both void of sexual femininity and independent of motherhood and heterosexual romance narrative. Of course, they support the modern human-centered belief that humans can take entire control of technology with their moral behaviors and dispel the fear about the negative impact the nature of technology may have on society at large by showing their child-like figuration protecting ethical values. However, the new character of 'unruly girl' exerts her subversive act that seeks to fight against the human-centered liberal humanistic values and melancholic feeling and vulnerability that the neoliberalism and technocracy enforce. When posthuman girl characters are considered to be a marker through which we can see how different social forces are intervening and competing each other in the upcoming posthuman age, the limited figuration of the posthuman girl characters in South Korean movies illustrates the opinionated thoughts toward the instrumentalism in technology but their bloodshed struggles reveal how the corporate or state-governed techno-biopower has oppressively treated and appropriated the human body as the technology-object and also provide a meaningful opportunity to rethink its unethical violence.

• Korean Journal of Heritage: History & Science
• /
• v.55 no.3
• /
• pp.46-58
• /
• 2022

This study analyzed the documentation trend of garden components such as plants, infrastructure, unit facilities, and structures, based on 188 measurement drawings of 94 old houses in a report on the documentation of the national folklore cultural heritage. The findings are as follows. First, it was found that plants and structures continuously appeared as the subject of measurement drawings, while infrastructure was often omitted. It was confirmed that unit facilities, which are smaller than other components, were frequently excluded from the documentation subject as well due to frequent changes such as movement, loss, and expansion. Second, the level of expression in measurement drawings showed different aspects for each component. The unit facilities showed a large change over time with respect to the level of documentation, and the level of documentation was somewhat polarized, particularly toward the latter stage. This suggests that the level of documenting the drawings limited to specific facilities improved, but the overall level of drawings did not improve, such as a lack of diversification of expression techniques suitable for various unit facilities. On the other hand, it was confirmed that the level of documenting the drawings for plants, infrastructure and structures did not change to a significant degree, implying that no improvements were made to the expression of components. Third, as for the technique of detailed expression, in the case of plants, vegetation status was prepared without distinction of old or protected trees that have historical value. Above all, there was no record of the vegetation structure that could help grasp the vegetation landscape of the outer area. As for the infrastructure, there was no consistent expression technique to systematically convey topographic changes such as the height and slope of the land. In addition, since there was no subtype classification defined for unit facilities and structures, there was no subject or method of documentation. This study is meaningful in that it expanded the category of documentation, which has been concentrated on buildings in old houses, to gardens, and called attention to the need for documenting the gardens for the preservation and management of old houses as an integration of the building and outer area.

• Journal of Practical Agriculture & Fisheries Research
• /
• v.9 no.1
• /
• pp.47-58
• /
• 2007

New Wild Grape berry weighs approximately 3.7g, which is one fourth of the weight of the general grape wine (12.2g). The pH of New Wild Grape wine is around 3.34, which is lower by 0.3 than that (3.62) of general grape wine. It contains higher organic acids, so it has stronger sour taste. The sugar content of New Wild Grape is 17° Brix, which is higher than that (15° Brix) of general grape wine. The color of New Wild Grape is blackish, owing to the lower lightness, redness, and yellowness compared with those of general grape wine. Depending on the mixing with or without oak tree, there is little difference in the pH, organic acid, reducing sugar, and amount of alcohol after ripening for 1 year. In taste, New Wild Grape wine mixing with oak tree is evaluated better than that of the wine without oak tree. Especially, in the case of the wine mixing with oak tree's sawdust, the quality in color, taste, and smell became improved. After fermentation, the pH of New Wild Grape Wine ripened with oak tree charcoal increased from 3.82 to 3.86, as it gets more oak tree charcoal, and the organic acid decreased from 0.91㎖ to 0.86㎖. However, there is no difference in alcohol amount. Lightness in color tended to be reduced, whereas redness tended to be increased. Adding 3% of oak tree charcoal made the taste and smell improved. When fermenting New Wild Grape Wine with mixing 1% of oak tree's sawdust or 3% of oak tree charcoal, there is little difference in the pH and the organic acid, whereas there is a little difference in those of New Wild Grape Wine without addition of oak tree charcoal. As the addition of oak tree charcoal increased, the lightness and redness became higher. When fermenting New Wild Grape Wine with mixing 1% of oak tree's sawdust or 3% of oak tree charcoal in oak tree barre, the taste became improved.

• Journal of Korean Tunnelling and Underground Space Association
• /
• v.11 no.4
• /
• pp.327-351
• /
• 2009

Laboratory tests are performed in this paper to investigate the brittle failure characteristics of over-stressed rocks taken in deep depth. Also, numerical simulation performed using that the so-called CWFS(Cohesion Weakening Frictional Strengthening) model is known to predict brittle failure phenomenon reasonably well. The most typical rock types of Korean peninsula - granite and gneiss - were used for testing. Results of uniaxial compression tests showed that the crack initiation stress was about 41 % to 42% of the uniaxial compressive strength regardless of rock types, where as, the crack damage stress of granite was about 75%, and that of gneiss was about 97%. Through the damage-controlled test, strength parameters of each rock were obtained as a function of damage degree. After the peak, the crack damage stress and the maximum stress were decreased, The cohesion was decreased and the friction angle was increased with increase of rock damage. Before reaching the peak, the elastic modulus was slightly increased, while decreased after the peak. Poisson's ratio was increased as the damage of rock proceeds. Comparison of uniaxial compression tests and damage-controlled tests shows the crack initiation stress estimated from the damage-controlled test fluctuated within the range of crack initiation stress obtained from the uniaxial compression test; the crack damage stress was less than that estimated from the uniaxial compression test. In order to predict the critical depth that brittle failure occurs, numerical simulations using the CWFS model were performed for an example site. Material parameters obtained from the laboratory tests mentioned above were used for CWFS simulation. Comparison between the critical depth predicted from the numerical simulation using the CWFS model and that predicted by using the damage index proposed by Martin et al.(l999), showed that critical depth cannot be reasonably predicted by the currently used damage index except for circular tunnels. A modified damage index was proposed by the author which takes the shape of tunnels other than circular into account.

• Korean Association for Visual Culture
• /
• v.23
• /
• pp.463-524
• /
• 2013

En exprimant 'la découverte de l'homme', Valéry, dans la Philosophie de la danse, représente «un plaisir qui allait jusqu'à une sorte d'ivresse, et si intense parfois, qu'un épuisement total de ses forces, une sorte d'extase d'épuisement pouvait seule interrompre son délire, sa dépense motrice exaspérée». Dans le même sens du plaisir, Jayadéva, dans son dithyrambe du Gîta-Govinda, représente la danse de Harî, une des nombreuses formes de Vichnou. Excités par le brûlant désir des jeux de la volupté, Hari et son amante Râdhâ cherchent au cours de la danse Râsa l'énergie vitale. Voilà la source du plaisir mystérieux valéryen. Ensuite l'eau, «élément essentiel de toute vie», est la mesure du temps de même que le soleil, l'eau est le principe de l'harmonie comme celui du monde. Finalement, chez Valéry, sous les diverses infleunces de l'eau mythique, la mer devient l'Océan de lait, soit le lieu de naissance, soit la substance maternelle, soit l'essence da la création universelle. Or tout au long de 「La Dormeuse」, Valéry évoque l'image de 'Vichnou-Narayana' sous l'influence de la mythologie indienne. Et sous une autre influence de Flaubert, Valéry évoque « d'étranges mondes abstraits». Malgré tout, Valéry crée lui-même, dans 「La Dormeuse」, une nouvelle image d'un monde abstrait : 'Vichnou-Narayana' couché sur un lit de lotus, porté par les replis du grand serpent Ananta, qui élève au-dessus du dieu endormi méditant, ses sept têtes formant une éspèce de dais - du sein de Narayana, richement décoré d'un collier d'étoiles et d'une couronne de pierres précieuses en forme de disque, croit un lotus qui porte Brahma dans son calice ; Lakchmi est aux pieds de son divin époux. L'épisode des dieux indiens est à un stade encore plus avancé de la destruction du symbole. Ils sont réduits à des formes symboliques obscures, non commentées et même difficilement identifiables. Le dieu rose qui mord son orteil dans une attitude à la fois mystérieuse et grotesque, c'est Vichnou qui a, selon le vichnouisme, le premier rôle dans la création du monde. Il flottait avant la création sur les eaux, couché sur une feuille de figuier, sous la forme d'un jeune enfant qui porte son pied vers sa bouche. Cette scène évoque la méditation et le repli sur soi de la divinité avant le commencement. Valéry désigne la cosmogonie particulière d'une religion bien déterminée(le vichnouisme) sans la nommer et en la vidant de son sens pouratnt capital, laissant subsister un symbole guetté par le grotesque, un dieu en enfance ; d'autre part, cette cosmogonie est télescopée et intégrée par une cosmogonie d'origine différente : le désemboîtement des trois dieux renvoie à la théorie sivaiste du Lingam, l'arbre de vie. Les dieux de la tirinité iendienne se détachent les un après les autres et il ne reste plus que la fleur sous la garde de Vichnou. Le désemboîtement des dieux paraît bien se référer à cette conception, malgré l'absence du lingam. Enfin toute la forme veille ; et tous les yeux sont ouverts.