• Journal of the Korean Institute of Landscape Architecture
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• v.42 no.5
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• pp.134-147
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• 2014

Pleasure grounds, which were introduced during the Japanese colonial era, were places for organizing new amusement activities, and developed into a large-scale private spaces and a new type of public space at the same time. This study explores the scenery and accommodations of pleasure grounds and the changes of the amusement culture through the Wolmido Pleasure Grounds, which was a typical pleasure grounds of the time. At that time, Wolmido became a comprehensive amusement/entertainment place with many elements of both Western and Japanese pleasure grounds such as exotic buildings harmonized with trees, a beach, a seaside school, public playing field, and zoo constructed on the Island. Wolmido Pleasure Ground, which was connected with Kyungsung by Kyungin railroad during the Japanese colonial era, is a good example showing the process of the popularization and commercialization of the amusement culture. The process of popularization of amusement shows the spreading of the enjoyment of leisure time with amusement activities through appreciating the beautiful scenery of the pleasure grounds among various social classes. The caste system was broken and anyone could use the pleasure grounds by paying the fee, of which there were many kinds, so the distinction between genders and the different classes, such as the Chosun people and Japanese, regarding amusement in pleasure grounds disappeared gradually. Also, pleasure grounds were a place for Western hobby-sports activities and were the means to generalize collective and dynamic activities through summer school and various sport games. At the same time, there were places for deviation from the existing social norms when it was combined with entertainment facilities. The commercialization of amusement took place in the form of an artificial entertainment culture within an artificial environment. First, the scenery was artificially constructed and this scenery created the image of paradise such as 'captivating summer vacation spot' and 'water kingdom'. This was the result of the combined intentions of the colonial authority, the railroad company and the amusement corporation to produce economic profits and encourage development in the area. Second, an artificial spectacle was constructed using nature as the backdrop. Buildings of various styles created a modernized and exotic image when they were combined with each other. Artifacts such as breakwaters and arcades created new attractions for people that enabled them to view both nature and the crowds from a whole different perspective. Third, pleasure grounds contributed to the advent of passive users who would just follow the given use and instructions. In this way, one can find the prototype of popular entertainment places of today such as sightseeing complexes, amusement parks, and theme parks through the construction of amusement grounds as a place for providing dynamic activities.

• Korean Journal of Heritage: History & Science
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• v.53 no.1
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• pp.184-203
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• 2020

The Confucian ruling class of the Joseon Dynasty regarded Buddhist rituals as "dangerous festivals." However, these Buddhist ceremonies facilitated transitions between phases of life from birth till death and strengthened communal unity through their joint practice of the rites. Ritual spaces were decorated with various utensils and objects that transformed them into wondrous arenas. Of these ornaments, Buddhist paintings served as the most effective visual medium for educating the common people. As an example, a painting of the Ten Kings of the Underworld (siwangdo) could be hung as a means to illustrate the Buddhist view of the afterlife, embedded in images not only inside a Buddhist temple hall, but in any space where a Buddhist ritual was being held. Demand for Buddhist paintings rose considerably with their use in ritual spaces. Nectar ritual paintings (gamnodo), including scenes of appeasement rites for the souls of the deceased, emphasized depictions of royal family members and their royal relatives. In Chinese paintings of the water and land ceremony (suryukjae), these figures referred to one of several sacred groups who invited deities to a ritual. However, in Korean paintings of a nectar ritual, the iconography symbolized the patronage of the royal court and underlined the historicity and tradition of nationally conducted water and land ceremonies. This royal patronage implied the social and governmental sanction of Buddhist rituals. By including depictions of royal family members and their royal relatives, Joseon Buddhist paintings highlighted this approval. The Joseon ruling class outwardly feared that Buddhist rituals might undermine observance of Confucian proprieties and lead to a corruption of public morals, since monks and laymen, men and women, and people of all ranks mingled within the ritual spaces. The concern of the ruling class was also closely related to the nature of festivals, which involved deviation from the routines of daily life and violation of taboos. Since visual media such as paintings were considered to hold a special power, some members of the ruling class attempted to exploit this power, while others were apprehensive of the risks they entailed. According to Joseon wangjo sillok (The Annals of the Joseon Dynasty), the Joseon royal court burned Buddhist paintings and ordered the arrest of those who created them, while emphasizing their dangers. It further announced that so many citizens were gathering in Buddhist ritual spaces that the capital city was being left vacant. However, this record also paradoxically suggests that Buddhist rituals were widely considered festivals that people should participate in. Buddhist rituals could not be easily suppressed since they performed important religious functions reflecting the phases of the human life cycle, and had no available Confucian replacements. Their festive nature, unifying communities, expanded significantly at the time. The nectar ritual paintings of the late Joseon period realistically delineated nectar rituals and depicted the troops of traveling actors and performers that began to emerge during the seventeenth century. Such Buddhist rituals for consoling souls who encountered an unfortunate death were held annually and evolved into festivals during which the Joseon people relieved their everyday fatigue and refreshed themselves. The process of adopting Buddhist rituals-regarded as "dangerous festivals" due to political suppression of Buddhism in the Confucian nation-as seasonal customs and communal feasts is well reflected in the changes made in Buddhist paintings.

• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.142-163
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• 2020

In the early Joseon dynasty, the meritorious vassals' portrait of Jeokgae (1467, 1476), Jeongguk (1506)·Jeongnan (1507), and Wisa (1545) were defined as the 2^nd period of the official uniform, in which the acheongsaek HeukDanryung appeared and settled. A total of seven portraits were analyzed, including three portraits of Jeokgae (1467, portrait production 1476) Son-so, Oh Jachi, and Jang Malson, and four portraits of Jeongguk (1506)·Jeongnan (1507) Yoo Sunjung, Hong Gyeongju, Lee Woo, and Yoo Hong. In the portrait of the Jeokgae wearing a Yebok HeukDanryung, in the case of the Samo, the height of the Samo, which had been raised at the beginning of King Seongjong, was lowered again, and the parietal part was rounded. The pattern was not expressed on the wide oval side wings of the Samo. In addition, the pattern was not expressed on the acheongsaek Danryung, Dapho, and Cheolrik. The colors of Dapho and Cheolrik were unified in green and red, respectively. The Mu of Danryung and Dapho was expressed as 'in and out wrinkled Mu', and the shoes were expressed in Baekhwa. Another feature is that the Jeokgae's portrait is expressed not as the Pumgye at the time of appointment, but as the Pumgye of the portrait production time. In the portrait of the Jeongguk·Jeongnan wearing a Sibok HeukDanryung, the height of the Samo lowered from the Jeokgae was maintained, while the parietal part was slightly narrowed and bent forward. The side wings of the Samo were expressed as an oval with a uniform width, and still the pattern was not expressed on the side wings. The pattern was not expressed in the costume of the Danghagwan's portrait, but the cloud pattern began to be expressed in the costume of the Dangsanggwan's portrait. And the Danryung was expressed as single Danryung without lining. In the portrait of Dangsang, the red Dapho and green Cheolrik were expressed, and in the portrait of Dangha, the green Dapho and blue Cheolrik were expressed. Therefore, it was found that the color of the undergarment was distinguished according to the Dangsang and Dangha. In Danryung and Dapho, the 'in and out wrinkled Mu' were maintained. The shoes were expressed in Heukhwa, and the rank badge and rank belt reflect the Pumgye at the time of the appointment. On the other hand, the portrait of Wisa could not be confirmed, but through the recording painting of the reign of King Meongjong, it was found that it was similar to the Danryung system of the reign of King Jungjong. Through the 2^nd period of the meritorious vassal's portrait of Jeokgae, it was confirmed that the HeukDanryung outfit began to be used as the official uniform of the meritorious vassal's portrait, and that the Pumgye of the portrait production time was reflected in the portrait. After the meritorious vassal's portrait of Jeongguk, the pattern began to be expressed in the costumes, and in particular, it was possible to distinguish Dasang and Dangha by the presence or absence of the HeukDanryung's pattern. In addition, it was confirmed that the expressed aspect of the official uniform was consistent with the practices and regulations at the time.

• Korean Security Journal
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• no.21
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• pp.155-175
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• 2009

RFID that provide automatic identification by reading a tag attached to material through radio frequency without direct touch has some specification, such as rapid identification, long distance identification and penetration, so it is being used for distribution, transportation and safety by using the frequency of 125KHz, 134KHz, 13.56MHz, 433.92MHz, 900MHz, and 2.45GHz. Also it is one of main part of Ubiquitous that means connecting to net-work any time and any place they want. RFID is expected to be new growth industry worldwide, so Korean government think it as prospective field and promote research project and exhibition business program to linked with industry effectively. RFID could be used for access control of person and vehicle according to section and for personal certify with password. RFID can provide more confident security than magnetic card, so it could be used to prevent forgery of register card, passport and the others. Active RFID could be used for protecting operation service using it's long distance date transmission by application with positioning system. And RFID's identification and tracking function can provide effective visitor management through visitor's register, personal identification, position check and can control visitor's movement in the secure area without their approval. Also RFID can make possible of the efficient management and prevention of loss of carrying equipments and others. RFID could be applied to copying machine to manager and control it's user, copying quantity and It could provide some function such as observation of copy content, access control of user. RFID tag adhered to small storage device prevent carrying out of item using the position tracking function and control carrying-in and carrying-out of material efficiently. magnetic card and smart card have been doing good job in identification and control of person, but RFID can do above functions. RFID is very useful device but we should consider the prevention of privacy during its application.

• Journal of Christian Education in Korea
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• v.62
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• pp.227-255
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• 2020

This paper aims to explore the nature of the making of speaking subject in early Korean Protestantism, focusing on the educational spaces for women. Traditional women could become a speaking subject through various educational programs provided by Protestantism in modern Korea. Especially three kinds of educational space played the crucial role of making women a speaking subject. The first was Bible class established for women in rural areas. Since most Korean women were unable to read and write, Protestant churches taught them Hangul[Korean alphabet] before teaching the Bible. Korean women studied the Bible in Bible class, Women's Bible School, and Women's High Bible School. Through this education, traditional women were liberated from the world of ignorance and obedience, and then become a speaking subject. The second was speeches and discussions that have emerged in institutional spaces such as mission schools for girls and women's organizations. Students at mission school were able to learn how to express their opinions by way of public speaking and discussion classes. Women were able to become speaking subjects in the process of learning such techniques of modern language. At that time, representative discussion spaces were Lee Mun-hoe, Joyce Chapter, and YWCA. The third was testimony and dialect. Unlike sermons and public prayers, which were only allowed to male elites, testimony and dialectics are a form of speech that transcends gender or status constraints. Especially in the space of the revival movement, women confirmed their dignity through active testimony, and their religious identity was strengthened in the process. Dialect also served as the language of liberation for women suffered and alienated from male-dominant culture. Dialect is a device that exercises the right to speak against transcendental authority. Furthermore, in Protestantism of early modern Korea, the speaking subject's act of speech was elevated beyond personal matters to social issues, women's issues, and ethnic issues.

• KOREAN JOURNAL OF CROP SCIENCE
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• v.40 no.5
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• pp.655-661
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• 1995

This study was conducted to get basic information of dry matter production and agronomic characteristics for increasing grain ripening in rice cultivar with large grains. Three cultivars which have different grain size were used. Of the two large grain cultivars, SR7796-3-1-5-1-l(SR7796F$_{7}$) had long culm and SR11269-13-3-4-2(SR11269F$_{6}$) had short culm. On the other hand, Tamjinbyeo was recommended cultivar had medium size of grain and culm. LAI was highest in Tamjinbyeo, followed by the SR11269F$_{6}$ and SR7796F$_{7}$, LAI decrement was higher in large grain cultivars than that of Tamjinbyeo after 20days after heading. Total dry weight(TDW) of areal part was highest in SR11269F$_{6}$, followed by the Tamjinbyeo and SR7796F$_{7}$. Dry weight (DW) of stem (leaf sheath+culm) at harvesting stage was decreased 15%, 12% in Tamjinbyeo, SR11269F$_{6}$, respectively, but was increased 5% in SR7796F$_{7}$ compared to heading stage. In distribution rate of each organ to TDW, distribution rate of leaf blade was low in large grain cultivar, but that of stem in Tamjinbyeo, SR7796F$_{7}$ and SR11269F$_{6}$ was 36%, 38% and 42%, respectively. In canopy architecture leaf blade weight was the highest 30~40cm, 40~50cm and 70~8Ocm above the ground in SR11269F$_{6}$, Tamjinbyeo and SR7796F$_{7}$, respectively. Range of panicle distribution in the canopy was 40cm in Tamjinbyeo, and was 70cm in large-grain cultivars. The results suggest that it has to take a growing interest in developing culture method for increasing LAI during growth stage, especially, around heading, in keeping green leaf till ripening stage and also in growing unformly plant within rice hill in large grain cultivars.cultivars.ltivars.

• Sijohaknonchong
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• v.30
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• pp.319-332
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• 2009

The research on the poem work of Hwang Jin I may have been discussed relatively profoundly compared to the number of works left by her. On the prolongation of such result that has been made thus far, the author tried to investigate aspect of confrontation of figuration and situation of farewell revealed in the poem work of Hwang Jin I through this dissertation. The 6 poems of Hwang Jin I are works which are directly or indirectly related to the situation of farewell. Thus, the author began to discuss dissertation, thinking that the difference in aspect of confrontation in the farewell situation of Hwang Jin I projected in the work can be confirmed by analyzing the poem work of Hwang Jin I. First, with respect to the figuration of farewell in the poem of Hwang Jin I, it cannot be said that she left many poems. However, it could be confirmed that the universal human emotion felt in the situation of farewell was effective converted to figuration by personality of the author through the delicate symbol and simile felt in each work and diverse poetic devices. Then, the aspect of confrontation of farewell situation revealed in the poem of Hwang Jin I was investigated in 3 large divided aspects. First, it is the nature-compliant aspect of confrontation that does not artificially reject or disobey but accepts the moment of farewell by relying on the providence of nature with respect to the situation of farewell. Four works pertain to this category, namely, <니 언지 무언(無言)하여$\sim$>, <어뎌 니 일이여$\sim$>, <산(山)은 넷 산(山)이로디$\sim$> and <청산(靑山)은 내 뜻이요$\sim$>. Next, it may be challenge to the nature, that is, to cut time and space at own intention against the providence of nature. The work, <동지인(冬至人)달 기나긴 밤을$\sim$> pertains to this category. Finally, it is mixed aspect of confrontation in which the above-mentioned compliant aspect of confrontation is mixed with challenging aspect of confrontation. The work, <청산리(靑山裡) 벽계수(碧溪水)ㅣ야$\sim$> may pertain to this category. As explained above, the aspect of confrontation revealed differently in the situation of farewell may be due to the peculiarity of her status as official kisaeng. Furthermore, her magnanimous and affectionate character may be also quite influential on this matter. The matters to be supplemented to make the above discussion successful need to be studied in the subsequent research.

• Sijohaknonchong
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• v.43
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• pp.5-39
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• 2015

Shijo (Korean poetic form) is a representative literature genre of a short poem among the literary works of Korea in the late Chosen Dynasty. The format of Sijo is Normal-Shijo in the form of 3 verses, 6 sections and 12 sound, and the lyrics of one Normal-Shijo has within or without 45 words. But Saseol-sijo, a type of Sijo, there is a work that has more than 100 letters due to the number of lyrics were a lot increased. Among those Saseol-sijo there is a work with 'solemn and elegant feeling' borrowing some verses even from Chinese poem, using a lot of Chinese vocabulary, but there are a lot of works with 'salacious and explicit contents'. Literary work, Shijo, is used for lyrics of vocal music as Gagok (a genre of Korean vocal music for mixed female and male voices) and Sijochang, however, there are many cases that the same Sijo poem is used as lyrics of Gagok and Shijo. But those music that use Saseol-sijo as lyrics among Gagok, the vocal music, are mainly songs with 'solemn feeling' rather than 'salacious work'. This study looked into the reason why the Saseol-sijo with 'salacious and explicit contents' are hard to be used as lyrics in Gagok, confirming the fact that most music singing Saseol-sijo among Gagok that are being handed down till now use lyrics with 'solemn and elegant feeling'. The most important thing among those reasons seems to be irregularly increasing lyrics, and in accordance with accompaniment. Gagok accompanys a number of instruments the fixed melody recorded and delivered in score. So it's almost impossible to play unless it depends on the steadily made song melody and accompaniment melody according to the chosen lyrics in advanced. Also, appreciation of literary works is usually made privately through a private reading activity, but Gagok is conducted through public performance in an open space for many people. Especially, it would have been hard to sing a salacious and explicit song gathered together with men and women of different social status in social system and custom of the late of Chosen Dynasty. This study confirmed the fact that folksy and popular character that was praised for literary characteristic of Saseol-sijo can't be easily found from Saseol-sijo that was called Gagok.

• Sijohaknonchong
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• v.43
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• pp.177-206
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• 2015

This paper is written in order to research for the contents and expression of HanYongUn's Sijo. HanYongUn is very famous as monk and independent campaigner, modern poet in Korea. He wrote many kinds of literary works, for example, many modern poetry, modern novels, Sijo, Chino-Korean Poetry etc. It's very exceptional that he wrote a lot of Korean traditional Sijo and Chino-Korean Poetry. Because he was a many modern poet as same as modern novelist. So studying on his Sijo can help someone to understand the essence of HanYongUn's all literature. That's why I'm studying on HanYongUn's Sijo. The firstly, in aspect of the the contents of HanYongUn's Sijo, HanYongUn was expressing three kinds of themes, that is ideology, reality, daily life in his Sijo. The ideology consists of Buddhism and Confucianism and the reality is related with social conditions, the daily life is deeply connected with Nim. These features of his Sijo are different from his modern poetry and Chino-Korean Poetry which had a simple theme, for example, love with Nim, daily life. The secondly, in aspect of the expression of HanYongUn's Sijo, I studied the expression of HanYongUn's Sijo in three angles, that is, vocabulary and the developing of poet thinking, rhetorics. HanYongUn used essential words for expressing three kinds of themes effectively in his Sijo. And he was developing of his poet thinking by three steps in his Sijo. He applied several representative rhetorics to his Sijo, those are question and answer, exclamation, irony, distich etc. Even though I studied the characteristics of HanYongUn's Sijo in two aspects But there could be the other things to study about these kinds of theme. I might continue researching the other kinds of theme next time in the near future.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.3
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• pp.1-13
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• 2010

This research is the semantic study on the nature cognition and lyricism of pavilion builders as reflected in the pavilion tablets in the Damyang poetry culture area built during 16th century. The names of pavilions, pavilion writings and "poetry with given theme" were studied by actual site visits. The view on the nature and aesthetic awareness of the pavilion builders at the time were explored together with surrounding landscapes. Following conclusions were drawn. 1. Pavilion names borrowed phrases from the famous historical events left by the sages. Or, they took the compliment on the beautiful nature surrounding orthe academic achievement of pavilion owners as the theme, then elaborated them with thinking based on Sung Confucianism. 2. The writings of pavilion literature were the idealistic view on the nature. They think the nature and human as "object and ego are one, object and ego communicate each other, object and ego become one". 3. The nature in the 16th century was the "principle of birth-death-grow-wither" for the intellectuals. They thought that the nature is the ultimate place to return for the realization of life with self-respect. 4. The introduction of fairy land among literary activities in the pavilion was the symbolic means healing the frustrated ego. It was confirmed that they temporarily entrusted their depressed feelings by borrowing the fairy land, far from the reality. The pavilion was the space to escape from the reality and soothe the anger and discord in the reality. 5. The pavilion literature in the Damyang poetry culture area during 16th century sang their pleasure of enjoying the beautiful scenery in the rural area using their social status. The literary works also contained their agony due to the frustration of difficulty in the realization of ideal. When the intellectuals, who already mastered literature, history and philosophy, came down to rural area, built pavilions at the location with beautiful scenery, and spent time while composing poetry, it was an escape from the burden that they should take the social responsibility as the model intellectuals of the society. The pavilions in Damyang poetry-culture area during 16th century were the idealized conceptual world and the space of awareness reflecting the philosophy and thinking of the time.