• Landscaping Tree
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• s.110
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• pp.15-17
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• 2009

$5{\sim}6$에 향기 짙은 순백색 꽃이 소박하고 탐스럽게 피었다가 10월에 붉은색으로 단장하는 열매는 마치 나무의 정수를 탄생시킨 양 매우 열정적이고, 고귀한 아름다움을 간직하고 있다. 또한 겨울에 하얀 설경을 배경으로 달려있는 열매는 관상적 가치는 물론 생명의 강인함을 넘어 우리 인간들에게 무엇이라 꾸짖는 듯한 외침이 서려있는 도전적 자태에 우리의 마음을 빼앗기는 아름다움으로 세파에 찌들인 도시인들에게 조경수 및 관상수 인기가 급상승하고 있는 수종이다. 특히 마가목은 한자명으로 馬牙木(마아목)이라고 불리는데 이것은 봄에 생겨나는 새순이 말의 이빨처럼 힘차게 돋아난다고 해서 동적인 감정과 함께 용기와 생동감을 주는 나무이다. 특히 공해에 강한 수종으로 도시에서 쉽게 접할 수 있는 장점을 가지고 있다. 일반적으로 병해충에 강하다고 알려져 있으나 몇몇 해충은 관리를 소홀히 하면 피해를 볼 수 있고 심하면 고사하므로 각별한 주의가 요망된다.

• Journal of the Daesoon Academy of Sciences
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• v.35
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• pp.359-392
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• 2020

In this paper, we examined the development of Chinese Taoist architecture, its cultural implications, and comprehensively summarized the core principles of the Taoist ecological ideas that are reflected in Taoist architecture. This is a groundwork for exploring an ideological model for sustainable ecological architecture in modern cities. Taoist architecture has a long history that has led to changes, developments, and a gradual maturation. Zhi (治), Lu (廬), and Jing (靖), were the first architectural forms of the early Taoist body. These formed the basis for the future development of Taoist Courts (宮觀). The state-sponsored government-run Taoist Courts established from the time of the North and South Dynasties to the time of Tang Dynasty led to a constant standardization of the rites, and these Courts gradually became more and more formalized. Since the establishment of Quanzhenjiao (全眞敎) in the early 12th century, a movement that emphasized putiy training, architecture for the ascetic practice emerged in remote natural spaces suitable for strict ascetic practices. Meanwhile, in Taoist architecture, the type and structure of buildings were strengthened in order to worship various gods. The various Taoist Courts established through this historical process embody the elements, institutions, and ecological ideas of Taoist culture. Taoist architecture basically pursued the idealism of Paradise in a Deep Cave (洞天福地) and adopted a feng-shui theory of using natural terrain artfully in selecting a place and building a layout. This was reflected through their ecology. Meanwhile, Taoist architecture does not destroy the balance of nature by emphasizing the utilization of local natural resources whenever possible while selecting building materials according to the principles of yinyang and the five movements (陰陽五行). In addition, Taoism aims to select simple places for practising asceticism and ancestral rituals whenever possible because of the need to maintain a simple mind, suppress desire, and return to a state of purity. This attitude is an indication of a kind of simple ecological ideas and value of frugality easily found in Taoism. The ecological ideas of Taoism provide abundant resources for considering solutions to the ecological crisis that arises in the creation of residential environments. Through the ecological ideas of Taoism, we can find a direction to understand the relationship between human beings and nature while creating new, sustainable residential environments.

• Archives of design research
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• v.15 no.3
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• pp.15-28
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• 2002

The purpose of this research is to identify the concrete imagery terms that characterize Korean cultural identity and to express Korean feelings and images through those words. We classified the selected imagery terms into the elements of design, the principles of design, abstraction, expression and function. As a result, new aspects of the Korean Image are as follows. 1, It recognized that the colors representing the Korean image are not only achromatic but also splendid. 2. Noble images with common images have taken up a large part of Korean traditional image. 3. Pleasant images as well as sad images should be presented as a new perspective to express Korean cultural identity. 4. Indirect image rather than direct image appears frequently, while positive/active image appears frequently. Since this image accounts for a large portion of Korean present image it cannot be overlooked as Korean traditional Image. 5. Korean traditional architecture is expressed as functional and rational. Up until now, representative imagery terms about Korean cultural identity appear to be positive and active and we know that Korean feelings and images are implying more variety to the image generally recognized at this time. Therefore, if today's various information technology, and values are compared and the continuity and changes of designs are appropriately combined above Korean cultural identity with these results, this will provide an essential direction for the development of global Korean designs.

• (The) Research of the performance art and culture
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• no.34
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• pp.241-276
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• 2017

This paper studies the restoration of Jeongeup notated in Daeakhubo to a singable song. Firstly, the melody of Jeongeup was restored by finding the rhythm of Jeongeup. Secondly, Jeongeup lyric written in Akhakgwebeom was added to the restored melody. Lastly, the musical style of restored Jeongeup song was investigated. The rhythm of Jeongeup was found to be the same as Jinjak's rhythm whose measure consists of four ternary subdivided beats. It is because the Jangdan of Jeongeup contains that of Jinjak. The Jangdan of Jeongeup is played one touch in a measure. Such ternary subdivided beat and one Janggo's touch in a measure were transmitted to today's Sujecheon. The lyric of Jeongeup was added to the restored melody of Jeongeup by following the lyric rules of Jinjak1,2 and Hoengsalmun. The lyric rules of Jinjak 1,2 and Hoengsalmun are as follows. One syllable is sung in two measures, Eodanseongjang 語短聲長 appears, long lasting tunes are mostly applied to Jang of Eodanseongjang 語短聲長, and syllables begin at the first beat in a measure. The musical style of Jeongeup is basically similar to that of Jinjak1, but there are some differences. They are similar in the sense that the melody is very long compared to the lyric and Eodanseongjang 語短聲長 appears. They are different in the sense that Jeongeup uses grace notes rather than Sigimsae when one tune lasts long. Jeongeup in Daeakhubo seems to have undergone changes, and its rhythm is likely to have been expanded two to four times in order to match Mugo dance after being used as an accompaniment to Mugo dance.

• Sim-seong Yeon-gu
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• v.30 no.1
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• pp.1-30
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• 2015

The Red Book contains C.G. Jung's insightful comment on life suggesting the thoughts of the Eastern philosophers, particularly that of Lao Zi. The author reviewed Jung's commentaries in the Red Book in comparison with Lao Zi Dao De Jing. Jung's comments on the image of despised Surpreme Being, on the Simplicity, the attitudes of 'the Spirit of the Depth' toward intellectual knowledges and speech, toward the small and the mockered one resemble to what Lao Zi spoke on Dao in his Dao De Jing. The 'good and evil' are regarded by both C.G. Jung and Lao Zi as two poles in one total psyche. The favorite words of Lao Zi : 'emptiness' or 'empty' are frequently mentioned in the Red Book. The investigation in this concern revealed that C.G. Jung, contrary to Lao Zi has applied the word 'emptiness' mostly as the opposite to the fullness. C.G. Jung's way of encountering with the darkest side of soul in the Hell and his bold confrontation to the authoritative person such as Philemon, above all, the intensity of his experiences in the state of the utmost tension between the opposites are extraordinarily impressive and somehow strange when regarded from traditional eastern way of behavior such as I-You relationship and the patterns of emotional life based on Confucian tradition. Confucius never talked about the prodigies, feasts of strength and disorders or spirits. Lao Zi never mentioned infernal cruelty. Noteworthy is however, both have enough experienced the cruelty of life and conflicts in the reality and what they spoke was not a process in search for solution but the final proposals for the solution of human agony. C.G. Jung was, like great shaman in central and East-Asia forced to go through inferno in his unique way and from these experiences obtained the insight which resembles not only to Lao Zi but also to wisdoms from the western philosophies and also from the Christianity.

• Applied Chemistry for Engineering
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• v.17 no.6
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• pp.625-632
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• 2006

Dependence of the critical micelle concentration (CMC) on temperature is examined from a statistical-mechanical point of view. A simple and primitive model examined in this article yields ln CMC= A+BT+C/T+D ln T with T being temperature and A, B, C, D being constants depending on the properties of the surfactant molecules which comprise the micelles. The resulting equation combines Muller's and Lim's equations, which have already been proven to fit well measured CMC data with temperature. The statistical-mechanical model on micellization discussed in this article provides a theoretical basis on these equations.

• Korean Journal of Social Welfare
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• v.59 no.4
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• pp.63-81
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• 2007

The purpose of this study is to understand the realities of social worker's lives dealt with his/her salary. This study has been conducted by Microhistory Study as a method of qualitative research. For this study, a participant who has worked at the social work agency for 12 years is chosen and interviewed in depth. Analysis of the collected data has been processed and conceptualized by 'finding a clue' named by Carlo Ginzburg. The core themes revealed through the collected data are 'government's incongruent management and social indifference', 'ambiguous expectancy', 'hard time with a small salary', 'uncertainty and losing pride', and 'living painfully and hoping ingenuous living'. Finally, it has been emphasized that the participant's incongruent salary disobeyed the constitution because the participant's duties are to be served by the public government officials.

• Korean Journal of Heritage: History & Science
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• v.38
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• pp.5-42
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• 2005

Based on a field investigation of intangible cultural asset # 2, author Sir Shin Seok-bong of Daejeon Metropolitan Cityinvestigated the music of Antaek-gut, which is the base and core of Anjoon-gut, and found the following musical features: A Jang-gu(drum) and Kkoaengkwari(gong) were used to recitethe Sutra(kyungmoon) of Anjoon-gut. The Jang-gu, located on the right side, played an accompaniment role with regular beats when the Sutra was recited. The Kkoaengkwari, located on the left side, played the role of covering the caesura of the Sutra passages, so it is played with various rhythmic variations in accordance with Kojang(鼓杖). This is one way of playing Korean national classical music that has temporary caesuras, depending on the rector's bre! ath or the contents of a Sutra during the Sutra chanting, with the Jang-gu covering the pause with its variation. In other words, when being played in concert, the instruments that play the main melody are at rest while another instrument takes its turn to play the main melody as a form of prolonged sound. The rhythmic cycles of the sutras of Antaek-gut recited with this instrumental accompaniment consist of five types; a) Woemarch-jangdan (a single beat) of 4 meter by 3 bit, b) Dumarch-jangdan (two beats) of 8 meter by 3 bit, c) Saemarch-jangdan (three beats) of 4 meter by 3 bit with a fast tempo, d) Mak-gojang, uniform beats with a standardized rhythm, and e) incomplete beats deviated from the regular beats. Sir Shin Seok-bong chanted Chang (唱), a traditional native song which he called 'Cheong (淸)' with a cycle of 'Dumarch-jangdan' throughout the places of Antaek-gut. Only 'Toesonggyung' a chant for the gate that was the last location of the Antaek, was chanted with a cycle of 'Woemarch-jan! gdan'. In addition, 'Saemarch-jangdan' and 'Mak-gojang' that had comparatively faster tempos than the former two jangdans, were played without a chant when a female shaman was dancing and catching her spirit-invoking wand. The 'Saemarch-jangdan', particularly, was played while dancing began at a relatively slow tempo, then proceeded at a violent tempo and then back again to the slow tempo. This shows one of the representative tempos of our music with a slow-fast-slow tempo. The organizational tones were 'mi-la-do'-re'', and its key tones of 'mi-la-do'' were performed with perfect fourth and minor third, which was the same as those of Menari-tori. However, it did not show a typical Sigimse, an ornamental tone, of Menari-tory, whose first tone, 'mi', is vibrated and its Sigimse is gliding down from the tone 're' to 'do'. That is because the regional tone-tori of Chungcheong-do have a relatively weaker musical expression than that of Gyeongsang-do. In addition, the rhythmic types in accordance with the words of a song for the Antaek-gut music had a comparatively faster tempo than the other sutras. Also, it was only with 'Toesonggyeong' that the tone 'la' continuously appeared throughout the melody and showed 'a syllabic rhythm', while other places consisted of either a 'syncopation' or 'melismatic' rhythm. Finally, according to a brief investigation of the tone organization in accordance with each sutra, the tone 'la' was given more weight. The tone procedure showed a mainly ascending 'la-do'' and the descending 'la-mi' with minor third and perfect fourth. Also, the overall tempo proceeded with M.M.♩.=116-184, while the tempo for the Gut proceeded with M.M.♩.=120-140, which was suitable for reciting a Sutra.

• Culinary science and hospitality research
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• v.11 no.4 s.27
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• pp.92-101
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• 2005

According to conceptions of Korean, Japanese, Chinese, and Western cuisine, the results of study based on SD and the factor analysis are as follows. The factors, which were showed from the conception of Korean cuisine, were the tastes for simplicity, cheapness, and familiarity, such as a side dish. The factors, which were showed from the conception of Japanese cuisine, looked like unfamiliar, tasteless and citified except sushi and grilled meat. The factors, which were showed from the conception of Chinese cuisine, were familiarity with the exception of Chinese black noodles, sweet fried pork and fried rice and those looked delicious as well as good table setting. Young people were also trending to be fond of them. The factors, which were showed from the conception of Western cuisine, were luxurious, delicate and citified foods. People were familiar with pizza, spaghetti and stake in Western cuisine.

• Archives of design research
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• v.17 no.2
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• pp.261-268
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• 2004

The Colonial House is one of the most popular styles in America. The purpose of this study is to closely examine this style based on interior features classified by patterns and elements during America's colonial period. Results of this study show that the interior style of the Colonial House was, at first, similar to Europe style. It was then integrated into the Georgian style of England and affected by Palladio as time passed. The interior style of the American Colonial House was based on rationality and practicality in concern with American weather and regions rather than imitation. The side of the roof was clapboard and the windows arranged with symmetry and rules around the entrance hall. It was generally Palladian style and was decorated with classical details. Timber frame of the interior was based on log cabins that appeared early in the American immigration. Furniture styles such as Jacobian, Queen Ann and Chippendale were matched with unique wood-oriented details and folkways like Chest, Rush Chair and Windsor Chair The house was also decorated with pictures, mirrors and ornaments, etc.