• Title/Summary/Keyword: 산수 개념

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Real Numbers as Ratios of Quantities (양의 비율로서 실수)

  • Park, Jun-Yong
    • Korean Journal of Logic
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    • v.14 no.3
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    • pp.137-176
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    • 2011
  • Bob Hale recently proposed a theory of real numbers based on abstraction principles. In his theory, real numbers are regarded as ratios of quantities and the criteria of identities of ratios of quantities are given by an Eudoxan ratio principle. The reason why Hale defines real numbers as ratios of quantities is that he wants to satisfy Frege's requirement that arithmetical concepts should be defined to be adequate for their universal applicability. In this paper I show why Hale's explanation of applications of real numbers fails to satisfy Frege's requirement, and I propose an alternative explanation. At first I show that there are some gaps between his explanation of the concept of quantity and his stipulation of domains of quantities, and that those gaps give rise to some difficulties in his explanation of applications of real numbers. Secondly I introduce a new ratio principle which can be applied to any kinds of quantities, and I argue that it allows us an adequate explanation of the reason why real numbers as ratios of quantities can be universally applicable. Finally I enquire into some procedures of the measurement of quantities, and I propose some principles which we should presuppose in order to successfully apply real numbers to the measurement of quantities.

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'The Same Scenery' and 'a Different Landscape' Included in "Real-Scenery Landscape Painting", an Essay to Determine Meaning - Centering around Paintings of Chong Seok Jeong in the 18th-19th Centuries - (실경산수화에 담긴 '같은 경관' 그러나 '다른 풍경', 그 의미 찾기 - 18.19C 총석정 그림을 중심으로 -)

  • Rho, Jae-Hyun;Jang, Il-Young
    • Journal of the Korean Institute of Landscape Architecture
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    • v.36 no.5
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    • pp.82-93
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    • 2008
  • This research focused on the process in which 'the same scenery' is recognized and represented as 'a different landscape' to determine the symbols and meaning of the scenery and landscape included in real-scenery landscape paintings of the 18th-19th centuries. As a result of analyzing the visual points, the content and expressions of 25 real-scenery landscape paintings of Chong Seok Jeong(叢石亭), it can be seen that the transmission of a kind of semiotic landscape on the basis of a specific symbol was accomplished naturally through imitation and representation for the purpose of the expression of Chong Seok Jeong-like idealized scenery. This shows that the unique images of Chong Seok Jeong have long been passed down after taking root as a unique benchmark The meaningful symbol of 'a strange Saseonbong(四仙峰)', which is broken by the spray after rising high, and 'a pine forest' have both been transmitted as being in the manner of Chong Seok Jeong. This has been equipped with the stereo-type scene by being a collective symbolization as the psycho-scenes in memory element of Chong Seok Jeong. Through the pictures of both Gyeomjae(謙齋) and Danweon(檀園), the process by which a specific painter's pictures become acculturated is highly interesting. The scenery expressed in these pictures was clearly that of a landscape of which its particularly emotions and remembrances were repainted through the experience of several places and original sketches. This can be explained as the concept in which the image from 'a specific scenery' gained through actual experience, that is, a personal feeling, has been expressed. The picture that was expressed as a different figure even at the same visual point for the same scenery is the result that was redefined through the scenery subject's recognition. Also, the modification of the scenery object can be colorful through meditation and Sachu(邪推: guessing with wicked doubt). The scenery recognized newly through adoption, omission and emphasis, it is 'the specific scenery' in the heart and is a figure having been more similar to 'a landscape' if the objective life reproduction before being acculturated is a figure similar to the scenery. So, the concept looks like being very persuasive that 'the nature with objectivity captured sensuously' simply is the scenery, and that 'the subjective phenomenon having acquired the cultural nature by being introspected in the method of aesthetic nostalgia is a landscape'.

Studies on Combining Ability and Inheritance of Major Agronomic Characters in Naked Barley (과맥의 주요형질에 대한 조합능력 및 유전에 관한 연구)

  • Kyung-Soo Min
    • KOREAN JOURNAL OF CROP SCIENCE
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    • v.23 no.2
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    • pp.1-24
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    • 1978
  • To obtain basic information on the breeding of early maturing, short culm naked-barley varieties, the following 10 varieties, Ehime # 1, Shikoku #42, Yamate hadaka, Eijo hadaka, Kagawa # 1, Jangjubaeggwa, Baegdong, Cheongmaeg, Seto-hadaka and Mokpo #42 were used in diallel crosses in 1974. Heading date, culm length and grain yield per plant for the parents, $F_1's$ and $F_2's$ of the 10X10 partial diallel crosses were measured in 1976 for analysis of their combining ability, heritability and inheritance. The results obtained are summarized below; 1. Heritabilities in broad sense for heading date, culm length and grain yield per plant were 0.7831, 0.7599 and 0.6161, respectively. Narrow sense heritabilities for heading date were 0.3972 in $F_1$ and 0.7789 in $F_2$ and for culm length 0.6567 in $F_1$ and 0.6414 in $F_2.$ These values suggest that earliness and culm length could be successfully selected for in the early generations. Narrow sense heritability for grain yield was 0.3775 in $F_1$ and 0.4170 in $F_2.$ 2. GCA effects of the $F_1$ and $F_2$ generations for days to heading were high in the early direction for early-heading varieties, while for late-heading varieties the GCA effects were high in the late direction. Absolute values for GCA effects in $F_1$ were higher than in $F_2.$ SCA effects of the $F_1$ and $F_2$ generations were high in the early-heading direction for Shikoku # 42 x Mokpo # 42, Ehime # 1 x Yamate hadaka, Shikoku # 42 x Yamate hadaka and Shikoku #42 x Eijo hadaka. 3. The GCA effects for culm length in the $F_1$ and $F_2$ generations for tall varieties were high in the tall direction while short varieties were high in the short direction. Absolute values for the GCA effects in $F_1$ were higher than in $F_2.$ SCA effects were high in the short direction for the combinations of Mokpo # 42 with Ehime # 1, Yamate had aka and Eijo hadaka. 4. The GCA effects for grain yields per plant in the $F_1$ and $F_2$ generations for varieties with high yields per plant were high in the high yielding direction, while varieties with low yields per plant were high in the low yielding direction. Absolute values of the $F_1$ GCA effects were higher than the $F_2$ effects. The combinations with high SCA effects were Mokpo # 42 x Shikoku # 42, Mokpo # 42 x Seto hadaka and Mokpo # 42 x Cheongmaeg. 5. Mean heading dates of the $F_1$ and $F_2$ generations were earlier than those of mean mid-parent. Mean heading date of the $F_1$ generation was earlier than the $F_2$ generation. Crosses involving early-heading varieties showed a greater $F_1, $ mid-parent difference than crosses involving late-heading varieties. 6. Heading date was controlled by a partial dominance effect. Nine varieties excluding Mokpo # 42 showed allelic gene action. Ehime # 1, Shikoku # 42, Kagawa # 1 and Mokpo # 42 were recessive to the other tested varieties. 7. The $F_2$ segregations of the 45 crosses for days to heading showed that 33 cosses were of such complexity that they could not be explained by simple genetic inheritance. One cross showed a 3 : 1 ratio where earliness was dominant. Another cross showed a 3 : 1 ratio where lateness was dominant. Four other crosses showed a 9 : 7 ratio for earliness while six crosses showed a 9 : 7 ratio for lateness. 8. Many transgressive segregants for earliness were found in the following crosses; Eijo hadaka x Baegdong, Ehime # 1 x Seto hadaka, Yamate had aka x Kagawa # 1, Kagawa # 1 x Sato hadaka, Shikoku # 42 x Kagawa # 1, Ehime # 1 x Kagawa # 1, Ehime # 1 x Shikoku # 42, Ehime # 1 x Eijo hadaka. 9. Mean culm length of the F, and F. generations were usually taller than the mid-parent where tall parent were used. These trends were high in the short varieties, but low in the tall varieties. 10. Culm length was controlled by partial dominace which was gonverned by allelic gene(s). Culm length showed a high degree of control by additive genes. Mokpo # 42 was recessive while Baegdong was dominant. 11. The F_2 frequency for culm length was in large part normally distributed around the midparent value. However, some combinations showed transgressive segregation for either tall or short culm length. From combinations between medium tall varieties, Ehime # 1, Shikoku # 42, Eijo hadaka and Seto hadaka, many short segregants could be found. 12. Mean grain yields per plant of the F_1 and F_2 generations were 6% and 5% higher than those of mid-parents, respectively. The varieties with high yields per plant showed a low rate of yield increase in their F_1's and F_2's while the varieties with low yields per plant showed a high rate of yield increase in their F_1's and F_1's. 13. Grain yields per plant showed over-dominnee effects, governed by non-allelic genes. Mokpo # 42 showed recessive genetic control of grain yield per plant. It remains difficult to clarify the inheritance of grain yields per plant from these data.

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A Study on the Use of the Word "Kyoung" of Choi Nam-Sun (일본 식민지시대의 경관개념어 연구 -육당의 [조선의 산수]에 나타 난 경을 중심으로-)

  • 정하광
    • Journal of the Korean Institute of Landscape Architecture
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    • v.20 no.1
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    • pp.18-28
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    • 1992
  • A purpose of this study is to identify the concept formation and classify the diverse concepts which related to Kyoung(景) of Chio Nam-Sun at Korea under Japanese colonial rule (a turning point in the korean history). The cultural policy of th Japanese Government-General was aimed at the destruction of Korean nationalism and racial consciousness and the rapid Japanizatio of the Koreans. In the name of assimilation, Korean language instruction was first simply discouraged while the movement for the use of Japanese was stepped up, the use of the Japanese language was forced upon the Koreans, and textbook revision was carried out in order to develop Shinto nationalism and loyalty to the emperor and the state. The results were as follows; The type of landscape concept was 10 types and had the following frequencies in order; Pung-Kuoung(風景)(42), Kyoung-Chi(景致)(21), Koang-Kyoung(光景)(8), Kyoung-Sung(景勝)(7), Kyoung-Gae(景槪)(5), Kyoung-Goan(景觀)(2), Sung-Kyoung(勝景)(2), Kyoung(景)(2), Sil-Kyoung(實景)(1), Pung-Kyoung-Goan(風景觀)(1). Types of landscape concepts in critical periods were classified into 10 according to the many characteristics; personal situations, cultural policy and education policy of Japanese.

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Expression of Chinese Painting Style in Management Simulation Games from the Perspective of 'Woyou' - Taking Peach Blossom Wonderland as an Example ('와유'의 시각에서 본 중국화 스타일의 경영 시뮬레이션게임에서의 표현--도원 깊은 곳에 인가(人家)를 중심으로)

  • Shan Miao
    • The Journal of the Convergence on Culture Technology
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    • v.10 no.5
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    • pp.437-444
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    • 2024
  • Video games, recognized as the "ninth art," carry not only entertainment functions but also the significant responsibility of disseminating ideas and culture. Increasingly, game developers are integrating specific cultural elements into their games, aiming to foster cultural heritage and emotional resonance. This study explores the modern transformation of traditional artistic concepts in the digital gaming field, starting from the Chinese painting theory of 'Woyou'. By examining game examples, the study analyzes the forms of expression of 'Woyou' in virtual landscape spaces and how player identity influences the 'Woyou' experience. The findings suggest that digital games offer new forms of traditional aesthetic wisdom and that Chinese traditional painting theory can gain modern interpretation in the context of digital game design. This provides theoretical support for optimizing game visual design and promotes the expansive development of traditional art concepts in the new media era.

A Study on Characterizing the Boundary Shape and Size of Land Use Patches in Mountain Village, South Korea: Cases of Sansu and Ajick Villages in Gimje City, Jeonlabukdo (산촌마을의 토지이용 패취 크기와 경계형태 특성에 관한 연구 - 전북 김제시 금산면 선동리 아직마을과 산수마을을 대상으로 -)

  • 황보철;이명우
    • The Korean Journal of Ecology
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    • v.26 no.5
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    • pp.237-246
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    • 2003
  • A mountain village is defined as that which is autogenously formed over at least 100 years and supported by agricultural yields and forest products and forest area portion of which is over 70% in Guidelines for the Comprehensive Development Planning of Mountain Village. Recently, concerns about management planning of the Green and Eco-Village causes researches related to the Mountain Village's economics, tourism attractiveness, experience programming and investigation of the ecosystem and environment based on the village area. This kind of eco-village project should be supported by ecological evaluation of its spatial structure. But there is rare research of the village spatial structure studied from the ecological viewpoint originally. The purpose of this study is to interpret the spatial structure of Korean mountain village on the landscape ecological paradigm. The paradigm components are patches, corridors, networks, and matrix which explain the land and spatial structure at landscape scale. For this purpose, we selected two case study areas- Sansu and Ajick villages in Gimje city, Jeonlabukdo. We interpreted and evaluated the spatial structure by three steps: (1) to clarify the existing land mosaic pattern by land use mapping (2) to estimate the pore size as development area in matrix (3) to investigate the funnel effect of patch shape. These landscape ecological steps and frameworks could be applied for the proper methodology as fundamentals of eco-village planning and design.

Pungsu Aesthetics of Korean Traditional Garden - Focused on Kosan Yoon Sun-Do's Gardens in Mountain- (한국전통정원에 구현된 풍수미학 연구 - 고산 윤선도의 원림을 중심으로 -)

  • Sung, Jong-Sang
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.30 no.4
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    • pp.70-80
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    • 2012
  • There isn't much of discussion about survey of traditional Korean garden with a perspective of Pungsu. Strictly speaking, it is difficult to list the names of gardens in which Pungsu theory is applied. But it is necessary to study in depth the Korean garden in mountain in relation with Pungsu. The reason is as follow; First, Pung-su and gardening both reflect man's responsive attitude and approach toward nature. Second, selecting a site for a garden requires aesthetic eyes to consider the harmony with the surrounding landscape and its compositions, where the perspective of Pungsu can play as an important component at work. Third, Pungsus complementary function justifies the correlation between Pungsu and Korean gardens. Gardens can be viewed as a solution to complement negative elements of Pungsu on site. This article tries to study the relationship between Pungsu and Korean garden in mountain in terms of Pungsu aesthetics. In Kosan Yoon Sun-Do's Buyong-dong garden, excavated perspectives of Pungsu aesthetics are fell into two categories; the spatial frame based on Pungsu topography and the dimension of enjoyment through visual angles between essential points. The former can be said as Pungsu topography as a mental image which was constructed by selected points and given Pungsu meanings; the latter is visual angles between those points by which make it possible to see and enjoy in comfortable sights. In such way making and enjoying Buyong-dong garden with full of Pungsu oriented meanings and aesthetics, Kosan Yoon Sun-Do enjoyed and sublimated his experience in nature into art.

The Landscape Characteristics of Utopia Shown in the Travel Records of Jirisan Mountain (지리산 유람록에 나타난 이상향의 경관 특성)

  • So, Hyun-Su;Lim, Eui-Je
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.32 no.3
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    • pp.139-153
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    • 2014
  • This study contemplates the utopian landscape recognized by the scholars with twenty three pieces of 'travel record'. Consequently, five key words - Mureungdowon(武陵桃源), Byeolcheonji(別天地), Dongcheon(洞天), Chonghakdong, Eungeoji(hermitage) - are chosen for comprehending the utopia and their landscape characteristics are organised as follows. Mureungdowon in Jirisan Mountain which the scholars dreamed of is a flatland with the full energy for local vegetation and domestic animals in the mysterious and deep gorge. This utopia eventually reflects the rural landscape. Byeolcheonji is a utopia combining the concept of a fairyland and beautiful scenery. The scholars also used the term 'Dongcheon' for naming the enclosed landform which is suitable for seclusion and defining the some areas of beautiful scenery. Cheonghakdong, which is set only in Jirisan Mountain, has been formed by the stone scenery of gorges and Buril waterfalls around the whole area of Burilam Hermitage, the vegetation scenery of pine trees and bamboos with the legend of Choi Chiwon and his engraved inscription on a rock. Adding to the utopia passed down, the scholars perceived the village with geographical features with back to the mountain and facing the water, the river practising the trade, the flatland enclosed by bamboo forests, the vegetation mainly consisting of fruit trees and beautiful scenery as the utopia realized on earth. It is equivalent to the world of human beings laboring appropriately and living in Mother Nature. As mentioned above, this study has significance for apprehending the relevance between the culture of strolling in the mountains by the scholars of Joseon Dynasty and the fairyland and explaining the various traditional utopias from the inherited concepts from China to the naturalized realistic utopia.

Design of North Seoul Dream Forest Based on Traditional Village Design Methods (전통마을 배치기법에 따른 북서울꿈의숲 설계)

  • Choi, Shin-Hyun
    • Journal of the Korean Institute of Landscape Architecture
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    • v.37 no.6
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    • pp.66-72
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    • 2010
  • Seoul City planned "Dreamland" to be in harmony with the huge woods and park. It is located in the life zone in the northern region of Seoul as part of an extensive park development plan that the municipal government has promoted. The space configuration technique of the aesthetics of "Empty" rather than "Full" gives the potentiality to cope with the uncertain changes in the city. Furthermore, the traditional element of the mountain landscape of Seoul was introduced and appropriated as the axis of the landscape for landscape configuration. In that configuration, the images of tree, sky, wind, water and soil are elegantly unfolded like a landscape painting. The purpose was to create a dominant landmark in the city landscape with the figures of Korean mountains and hills which were differentiated from architectural landmarks in the western cities by making nature, which was excluded from the urbanization plans up to now, an important subject for consideration. As a result, this study madethe space in a park including existing yards and streets in a city have the traditional hierarchy by applying the facility arrangement technique and elements extracted from Korean space types and traditional landscape concepts. Moreover, the North Seoul Dream Forest was designed by pursuing diversity and potentiality in the experience of space using a large open field in a city.

A study on the beauty of space by overall arrangement and composition of a picture in Oriental painting (동양회화의 경영위치(經營位置)에 의한 여백(餘白)의 미(美) 연구(硏究))

  • Lee, Seung-Sook
    • Journal of Science of Art and Design
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    • v.11
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    • pp.201-220
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    • 2007
  • From two viewpoints the writer investigated the beauty of space by overall arrangement and composition of a picture in Oriental painting. In particular, she examined the expanded representation and significance of space use which had not properly been recognized in the field of a colored picture contrary to a painting in India ink. She studied that the boundary for the representation and appreciation of space was unlimited to one field of painting by studying and analyzing it in connection with other fields of art which had something in common with it in techniques or languages of representation. The writer considered the aspects of similar forms and spirits as the methods of understanding and representing the essence of an object in creating a work. She generally considered the aspect of perfecting knowledge by studying the principle of an actual thing for the representation of revealed forms corresponding to the aspect of similar forms, and tried to reach the stage of 'materialization' united with the spirit of the subject of creation for the formless forms corresponding to the aspect of representing an artist's inner world as well as the external shapes of things. She tried to reach the stage of spiritual cultivation in pursuit of the boundary between 'mental vanity' and 'sitting quietly and attaining the state of perfect selflessness', which were presented by Chuang-tzu, to express the spirituality internal to it. She recognized that the projection of the cultivation on a work could convey internal essence as well as external forms to a picture. It was because the image of the form represented in a picture was based on the aesthetic experience got from realty. In the concept of space and a method of representing it, she explored and analyzed the basic concept of space, arranged the concept of space shown in Oriental ideas dividing it into the concepts of space in Confucianism, Taoism and the Zen sect. What she felt acutely through this study was that she should establish the identity of her work by succeeding to, changing and re-creating tradition based on the historical heritage left by successive excellent painters and theorists. Putting together all these things showed that establishing the identity in the world of work pursued and oriented by her required searching the direction in future works by mixing tradition with modern times in a creative way, which is just the purpose of study in this thesis.

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