• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.6
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• pp.1-11
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• 2009

This study focuses on Abstract Types in Contemporary Landscape Design. The formation and artistry of contemporary landscape design reveals many areas which Previously have not been able to be expressed in scenic landscape thanks to the deviation of the genre in contemporary landscape and the hybridization that has occurred among architecture, landscape and art genres. The focus of this study is basic research concerning "the abstract", which is used as a creative artistic theory in a variety of art fields such as landscape, architecture and painting. Through a theoretical establishment of "the abstract", its process of change, and the discovery of its contemporary principles, the relationship between each art field in landscapes and the formation of the abstract, abstract language, and abstract properties have been studied. The use of the abstract in contemporary landscape design can be classified in three ways: Inductive abstract representing conceptual transcendental symbols not logically but rather through intuition and transcendental cognition to display the inner expressions, ideas and minds of the artists. Second, a deductive abstract represents an expansive, logical model for the simplification of objects, distortion, exaggeration based on knowledge and logical reasoning about objective fact based on traditional realism. The complexity of the abstract is a concept that is bound to both the deductive & inductive abstract. As a major trend, the concept of "The abstract" in contemporary landscape has been putting forth ever-deeper roots. New trends like abstract works and landscape architecture reflecting the artist's inner expression, in particular, will provide fertile soil for landscape in the future. Further research about the concept of "the abstract" will also be necessary in the time to come.

• The Journal of Korean Philosophical History
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• no.25
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• pp.223-249
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• 2009

This papers focuses on the Confucian classics for the correct orientation of education as a basic task of the Confucian classics will as a necessary whether the need for education, to identify the natural history study will attempt to have. In East Asia means that classics, the classicalization process of looking at Chinese culture, classicalization of review of the cultural meaning. And this papers focuses on the historical evolution of education, and education in China and Korea in the modern world the meaning of the Confucian classics education about and looked at two dilemmas. And outside the scope of Confucian five ethical thoughts as main moral to find new values and new interpretations about the legitimacy and philosophical thinking of the meaning of the Confucian classics Education. In addition, the development of educational content to the new Confucian classics on the subject of three applies to the existing approach and to propose a new type of comparison?Review. As primitive Confucian classics is not determined by a priori, the modern understanding of the Confucian classics also thorough review process of reflection and understanding the new system will have to be reconfigured. Furthermore, in the richness of modern society as the training methods as well as the development of relevant content for the modern society that values education's development is a very important issue. In this respect, should not be overlooked here is not about education, the effect of Confucian classics is concerned about the review. To this, first of all the Confucian classics need education about the content and strict screening operation. In addition, the ability to function in modern society, modern reinterpreted and the need to find a new educational element is. Because we did not give a realistic benefits and future view and any history or civilization, is always disappear in history. This series of problems will be a reason of require that philosophical thinking of Confucian classics education.

• The Journal of Korean Philosophical History
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• no.31
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• pp.241-262
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• 2011

In this paper we show how the perception of heavenly principle(天理) and definition of individual desires(私慾) in the five commentaries on Daodejing(道德經) was changed over time. The five commentaries on Daodejing(道德經) composed during $Chos{\breve{o}}n$ are 'Sooneon(醇言) by Lee, Yul-gock (李珥,1536~1584), 'SinJoo-DoDuckKyung (新註道德經) - or New Commentary on Daodejing(道德經) - by Park, Se-dang(朴世堂,1629~1703), 'Dodukjigi(道德指歸)' by Suh, Myoung-euing(徐命膺,1716~1787), 'Chowondamro (椒園談老)' by Lee, Chung-ik(李忠翊,1744~1816), and 'Jungro(訂老)' by Hong, Suk-joo (洪奭周,1774~1842). The course of history in understanding the book, "Daodejing(道德經)," demonstrated that by the late of $Chos{\breve{o}}n$ Dynasty in the 18th century, the notion of 'the moral law for the community' has changed. Neither Suh, Myoung-euing nor Lee, Chung-ik emphasized 'the necessity for the truth of the heavens.'Instead, they focused more on the 'individuals' who followed the moral law than the moral law itself. They did not see the individual desire as the object that had to be discarded. Within the context of this framework, the individual's role had changed from the person who had to be obedient to the law to the subject who judged the moral law all by him/herself. This process of breaking up 'the goodness of the community' led the $Chos{\breve{o}}n$ Dynasty of the 18th century in the transition period to the modern era. In other words, it was the time when the introspection of the 'moral law' prevailed in the $Chos{\breve{o}}n$ Dynasty occurred naturally and spontaneously among the Confucian scholars, which implied the reconceptualization of the 'self-awareness' or 'the point of view on the individual's self-desire' was occurred in the context of academic development during the late $Chos{\breve{o}}n$ Dynasty.

• (The) Research of the performance art and culture
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• no.38
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• pp.143-191
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• 2019

This research argues that Pansori had patrons in its development. Patrons are commonly discussed aspect of history of any art form. Pansori is no exception. While Pansori originally began as the art of the common people, Yangban class became the primary audience. This paper examines the role of royal family of Choson dynasty in development of Pansori. Heungseon Daewongun (흥선대원군) in particular was a Pansori aficionado. The record around Daewongun's involvement to Pansori proves that heavy monetary investment was made. He hosted Pansori competitions and sponsored creation of Pansori tradition, Boseong Sori (보성소리) and Gangsanje (강산제). Also the aspect of Pansori patronage lies not just in Yangban class, but also in Jung'in class, which is roughly analoguous to European bourgeois in that they were not of Yangban class, but had gained monetary status, and had aesthetics of both Yangban and commoner class. I argue that Heungseon Daewongun's ties to the Jung'in class is reflected in his actions towards Pansori artists. The traditions he had sponsored have important characteristics, including sophisticated lyrics heavily utilizing Classical Chinese poetry, highly artistic musical composition, and conservative Confucian ethics. Those characteristics indicate that the Pansori traditions sponsored by the royal patrons have changed to cater to their artistic taste and philosophy. This paper conducts a textual comparative analysis between Gangsanje Pansori Jeokbyeokga (강산제 판소리 적벽가), Dongpyeonje's Pansori Jeokbyeokga (동편제 판소리 적벽가), and Seopyeonje Pansori Jeokbyeokga, who share the same plot yet offers a stark differences in tone, philosophy, and sense of humor. Daewongun was a primary sponsor of Pansori, which proves that Yangban class and the royal family have played important role as patrons of Pansori.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.81-89
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• 2011

The results of tracking the symbolism of plants in the introduction factors of Sokhwa(folk painting) are as the following. 1. The term Sokhwa(俗畵) is not only a type of painting with a strong local customs, but also carries a symbolic meaning and was discovered in "Donggukisanggukjip" of Lee, Gyu-Bo(1268~1241) in the Goryo era as well as the various usage in the "Sok Dongmunseon" in the early Chosun era, "Sasukjaejip" of Gang, Hee-mang(1424~1483), "Ilseongrok(1786)" in the late Chosun era, "Jajeo(自著)" of Yoo, Han-joon(1732~1811), and "Ojuyeonmunjangjeonsango(五洲衍文長箋散稿)" of Lee, Gyu-gyung(1788~?). Especially, according to the Jebyungjoksokhwa allegation〈題屛簇俗畵辯證說〉in the Seohwa of the Insa Edition of Ojuyeonmunjangjeonsango, there is a record that the "people called them Sokhwa." 2. Contemporarily, the Korean Sokhwa underwent the prehistoric age that primitively reflected the natural perspective on agricultural culture, the period of Three States that expressed the philosophy of the eternal spirits and reflected the view on the universe in colored pictures, the Goryo Era that religiously expressed the abstract shapes and supernatural patterns in spacein symbolism, and the Chosun Era that established the traditional Korean identity of natural perspective, aesthetic values and symbolism in a complex integration in the popular culture over time. 3. The materials that were analyzed in 1,009 pieces of Korean Sokhwa showed 35 species of plants, 37 species of animals, 6 types of natural objects and other 5 types with a total of 83 types. 4. The shape aesthetics according to the aesthetic analysis of the plants in Sokhwa reflect the primitive world view of Yin/yang and the Five Elements in the peony paintings and dynamic refinement and biological harmonies in the maehwado; the composition aesthetics show complex multi-perspective composition with a strong noteworthiness in the bookshelf paintings, a strong contrast of colors with reverse perspective drawing in the battlefield paintings, and the symmetric beauty of simple orderly patterns in nature and artificial objects with straight and oblique lines are shown in the leisurely reading paintings. In terms of color aesthetics, the five colors of directions - east, west, south, north and the center - or the five basic colors - red, blue, yellow, white and black - are often utilized in ritual or religious manners or symbolically substitute the relative relationships with natural laws. 5. The introduction methods in the Korean Sokhwa exceed the simple imitation of the natural shapes and have been sublimated to the symbolism that is related to nature based on the colloquial artistic characteristics with the suspicion of the essence in the universe. Therefore, the symbolism of the plants and animals in the Korean Sokhwas is a symbolic recognition system, not a scientific recognition system with a free and unique expression with a complex interaction among religious, philosophical, ecological and ideological aspects, as a identity of the group culture of Koreans where the past and the future coexist in the present. This is why the Koran Sokhwa or the folk paintings can be called a cultural identity and can also be interpreted as a natural and folk meaningful scenic factor that has naturally integrated into our cultural lifestyle. However, the Sokhwa(folk paintings) that had been closely related to our lifestyle drastically lost its meaning and emotions through the transitions over time. As the living lifestyle predominantly became the apartment culture and in the historical situations where the confusion of the identity has deepened, the aesthetic and the symbolic values of the Sokhwa folk paintings have the appropriateness to be transmitted as the symbolic assets that protect our spiritual affluence and establish our identity.

• Journal of Korea Water Resources Association
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• v.42 no.12
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• pp.1039-1052
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• 2009

Radar measurement with high temporal and spatial resolutions can be a valuable source of data, especially in the areas where rain gauge installment is not practical. However, this kind of data brings with it many errors. The objective of this paper is to propose a method to evaluate statistically the quantitative and qualitative accuracy at different radar ranges, temporal intervals and raingage densities and use a bias adjustment technique to improve the quality of radar rainfall for the purpose of hydrological application. The method is tested with the data of 2 storm events collected at Jindo (S band) and Kwanak (C band) radar stations. The obtained results show that the accuracy of radar rainfall estimation increases when time interval rises. Radar data at the shorter range seems to be more accurate than the further one, especially for C-band radar. Using the Monte Carlo simulation experiment, we find out that the sampling error of the bias between radar and gauge rainfall reduces nonlinearly with increasing raingage density. The accuracy can be improved considerably if the real-time bias adjustment is applied, making adjusted radar rainfall to be adequately good to apply for hydrological application.

• The Journal of the Korea Contents Association
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• v.14 no.4
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• pp.78-85
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• 2014

Europeans experienced the horror and cruelty of war through the first and second World Wars. They began to raise fundamental questions and doubt about the preexisting World Order of God and humans leading to the birth of Existentialism. The Theater of the Absurd is one of the genres in theater resulting from the existentialist theories. The Theater of the Absurd has a format opposed to the traditional Realist Theater and emphasize the absurdity of human and society's existence. In particular, Fernando Arrabal who is a French Absurdist playwright, expressed the absurd human conditions using his unique forms and contents and his work 'Fando et Lis' depicts the absurdity of the adult world through the eyes of a child. Many unrealistic elements typical and inherent in the Absurdist plays are present in his work. Especially, the actors were required to apply not only the realistic acting approach but also to study and analyze characteristics of all Absurdist plays and internalize them based on the creative foundation of recreation. Then, they were asked to examine the characters' personality, emotions, and actions and think hard about creating an unrealistic action of voice and movements. This creative process by actors is a must in developing the reliable and trustworthy Absurdist acting.

• Journal of Korea Water Resources Association
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• v.37 no.7
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• pp.553-567
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• 2004

This study proposes a modified standardized precipitation index (MSPI) which was developed to make up for the weakness of the SPI. Both MSPI and SPI are applied to the monthly rainfall at the Seoul station for the drought analysis. The MSPI proposed is nothing but the SPI for the normalized monthly rainfall, that is, an extra step for normalizing the monthly rainfall is included before driving the SPI. Thus, the MSPI has a structure to transfer the relative amount of rainfall to the next months, but the SPI the absolute amount of rainfall. The monthly rainfall data at the Seoul station used in this study are those collected from 1777 to 1996. The rainfall data collected before and after the long dry period around 1900 were also analyzed separately for the comparison. The results derived are as follows. (1) The MSPI was found to be more practical compared to the SPI. This was assured by comparing the analysis results of the data including and excluding the long dry period around 1900. (2) The MSPI is found to be less sensitive than the SPI to the extreme rainfall events. For the MSPI, the occurrence probabilities of moderate drought before and after the long dry period are similar, but those for the extreme drought becomes slightly decreased after the long dry period (from about 18 years of return period before the long dry period to the 16 years after the long dry period). However, the duration becomes longer after the long dry period (the duration for the extreme drought has been increased from 2 to 2.5 months after the long dry period). This results can also be compared with a rather unreasonable result derived by applying the SPI (for the extreme drought the return period has been decreased to be from 25 to 10 years after the long dry period, on the other hand the duration has been increased from 1.5 months to 3.5 months). So, we man conclude that the MSPI is more practical for the drought analysis that the SPI.

• Korean Journal of Ecology and Environment
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• v.45 no.3
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• pp.278-288
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• 2012

The zooplankton community of Lake Paldang, Korea, was investigated on a weekly basis from 2004 to 2006. The seasonal succession of zooplankton community structure was influenced by hydrological factors such as rainfall pattern and efflux in Lake Paldang. According to the monsoon climate, spring, fall and winter had reduced precipitation, so that zooplankton dynamics of the lake showed a typical succession pattern. In spring, small sized and faster growing rotifera rapidly increased, and copepods and cladocera noticeably increased thereafter. Rotifera dominated the zooplankton community, occupying more than 90% of total zooplankton abundance. Among rotifera, Keratella cochlearis was extremely dominant in spring. Copepoda were mainly present as Copepodid and Nauplius. Among cladoceran species, Bosmina longirostris was dominant. In summer, during the rainy season, zooplankton were flushed out by an associated dam. After the rainy season, rotifera increased rapidly when the water column of the lake was stable. During the fall, zooplankton abundance gradually reduced in accordance with decreasing water temperature. However, the occupation rate of copepod (Copepodid, Nauplius) increased relatively. Zooplankton dynamics were influenced by meteorological changes and hydraulic-hydrological factors, because Lake Paldang is a completely closed ecosystem.

• Proceedings of the Korea Water Resources Association Conference
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• 2005.05b
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• pp.996-1000
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• 2005

본 연구에서는 마포대교 확장 공사의 인해 일부 교각의 우물통 기초 주변 하상변화와 세굴 현상을 파악하기 위한 심도추정 방법으로 현재 다양하게 토목분야에서 적용되고 있는 치하투과레이더 탐사기법을 사용하였다. 교각 우물통 주변의 안정적인 GPR 탐사를 수행하기 위한 보조장비를 고안하여 마포대교 P6의 우물통 주변을 2004년 6월(1차)과 2004년 10월(2차)에 걸쳐 탐사를 실시하였으며, 탐사 기간 중 약 12,000 cms의 유출량이 발생하여 국부세굴과 하상 변화 가능성을 충분히 검토 할 수 있을 것으로 판단되었다. 수집된 자료를 통해 양질의 자료 획득을 위해서 자료의 보정 과정을 마친 후 각각의 구간에 대해서 1, 2차 탐사된 두 개의 자료를 비교 분석하였다. 전구간의 반사파를 이용하여 기존의 연구결과에서 얻어진 반사파의 양상(Beres and Haeni, 1991)과 비교한 결과 하상 표면은 미사 혹은 실트로 구성되어 있고 주요한 하상 하부 매질은 전석(boulder), 호박돌 등으로 이루어져 있었다. 그리고 1차 및 2차 탐사 자료와 DATAPCS의 세굴센서가 설치된 측점을 기준으로 심도 및 위치 보정을 한 결과 큰 오차는 발생하지 않았으며, 400 MHz 안테나를 활용하여 최대수심 약 10 m 이상 하상을 탐사할 수 있었다. 수심이 깊은 구간은 하상과 가까운 위치에서 탐사를 실시하여 양질의 하상 변화 양상을 파악할 수 있어 하상 재료의 정성적인 평가를 높일 수 있도록 하였다. 마포대교의 탐사 대상 교각 우물통 주변은 계획홍수량의 1/3 수준으로 비교적 적은 홍수량이 발생한 2004년의 호우사상으로 인해 일부구간이 약 $10\~20\;cm$ 정도의 퇴적과 세굴 영향이 나타난 것을 제외하고는 유의할 만한 세굴과 하상 변화가 발생하지 않고 매우 안정적인 상태를 보이고 있으며 되메움이나 두드러진 퇴적층의 양상 또한 확인할 수 없었다. 대상구간에 설치한 유속계 최대유속이 2.0 m/s 이상 발생하였지만 우물통 주변의 자갈 및 호박돌 등과 같은 평균입경이 큰 유사의 이동에 절대적인 한계유속을 초과하지 못한 것으로 판단된다. GPR 탐사의 적용 한계성을 극복한 본 연구는 홍수 전$\cdot$후의 하상변화 및 최대세굴심, 되메움 깊이 및 범위 등의 세굴현상을 현장탐사를 바탕으로 현재 다양하게 적용하고 있는 세굴 실험식과 비교 분석함으로써 우물통 주변의 효율적인 세굴 보호 대책을 강구하는 목적으로 그 활용성을 증대할 수 있을 것이다.