• Cross-Cultural Studies
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• v.45
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• pp.219-243
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• 2016

The life of Antonin Artaud exactly reproduces a very cruel drama. He lived in constant anguish and suffered from severe mental pain. This research will trace his thoughts in his writings while he was a prisoner of language. Artaud was a poet filled with anxiety about language, things, being, and thought. Whenever he tried to explain the mystery of being by means of mundane language, he experienced psychological agony. His poetic thoughts began to break down, because of his identity loss. Nevertheless, he was destined to grasp the world through language. Artaud had suffered from mental illness during his youth. His mental illness was associated with his difficulty in creating poetry. In this research, the letter, Correspondance avec Jacques $Rivi{\grave{e}}re$, is analyzed. The poet refers to "the collapse of the spirit's core, and the erosion of the fundamental thought that slips away" to convey his linguistic incompetence. Hereafter, he constantly demonstrated anxious mental symptoms. Even though he became mentally deranged, he maintained his consciousness, as is apparent in his writings. Also, his spiritual belief is reflected in his mental uneasiness. While he was traveling through the Tarahumaras area in Mexico, he was obsessed with its primitive belief in the Peyote rituals, and he immersed himself in performing them. His unchristian belief was the product of his mystical personality. Until his last breath, he did not give up writing. Artaud's mental derangement does not mean lunacy, but if one insists in calling it so, that is a metaphor. His derangement comes from his refusal to accept his limitations and from his aspiring to regard his body in the same light as his intellectual perceptions. His intellect could manifest more easily when his mind was elevated to the extreme. Artaud's lunacy is no different from that of a profound philosopher. The lives of poets who suffer from mental derangement are more poetic than the lives of those who do not. Artaud's atypical emotions provide a way of to measure our own limitations, helplessness, and resignation. His scream is nonsegmental but different from that of a mental patient. That difference is why people are interested in his works and wish to delve into his writings.

• Food Engineering Progress
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• v.14 no.4
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• pp.299-306
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• 2010

This study was performed to develop new functional red ginseng drinks with Astragali Radix and Opuntia humifusa. Optimum extraction conditions such as solvent property and temperature for Astragali Radix were determined by distilled water vs. ethanol (95%) ratio (0:100, 25:75, 50:50, 75:25) and 60 vs. $80^{\circ}C$. Water-soluble extracts at $80^{\circ}C$ showed higher antioxidant activities than fat-soluble extracts at $60^{\circ}C$. Viscosities of 1-2% (w/v) of Opuntia humifusa solution were similar to that of the 0.1% guar gum solution. Addtion of Astragali Radix (3% and 5%, w/v) and Opuntia humifusa (1.2%, w/v), especially, had effect on the changes of pH of the red ginseng solution(5%, w/v) during storage for 7 days. A significant difference during the storage was shown in total plate counts by addition of Opuntia humifusa (1.2%, w/v) and microorganisms were reduced by six log cycles. Significant antiproliferation effects of red ginseng (5%, w/v) solution with Astragali Radix (3% & 5%, w/v) and Opuntia humifusa (1.2%, w/v) on Colon26m-3.1 carcinoma (colorectal carcinoma) cell and U87-MG neuronale glioblastoma (brain carcinoma) cell were not observed.

• The Korean Journal of Archival Studies
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• no.13
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• pp.91-134
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• 2006

In general, personally collected archives, manuscripts, are physically badly conditioned and also contextual of the archives and information on the history of production is mostly collected partly in the manuscripts. Therefore they need to control the name of the producers on the archives collected in various ways effectively and accumulate provenance information which is the key element when understanding the production background in the collecting repository. Here, the authority control and provenance information management must be organized from the beginning of acquisition and this means to collect necessary information considering control process of acquisition as well. This thesis is for verifying the necessity of the authority control in collecting repository and accumulation of the provenance information and for suggesting the things to be considered as collecting Archival authority system. For all these, this thesis shows that it has checked out the necessity of the authority control in archival management and archival authority control and researched the standard of archival authority control, work process and accumulation process. Archival provenance information management and authority control in the archival authority control system are organized through the whole steps of the archival management starting from the lead file to the name of the producers at archival registration and archival description at acquisition. And a lot of information is registered and described at the proper point of time and finally all the information including authority control which controls the Heading in the authority management must be organized to use them as an intellectual management of archives and Finding Aids. The features of the Archival authority system are as follows; first of all, Authority file type which is necessary at the archival authority control of democracy movement is made up of the name of the group, person, affair and terminology(subject name). Second of all, basic record structures and description elements in authority collection of Korea Democracy Foundation Archives apply in the paragraph 1 of ISAAR(CPF) adding some necessary elements and details of description rule such as spacing words and using the periods apply in the paragraph 4 of KCR coping with the features of the archival management system. And also the way of input on the authority record is based on EAC(Encoded Archival Context). Third of all, it made users approach to the sources which they want more easily by connecting the authority terms systemically making it possible to connect the relative terms with up and down words, before and after words variously and concretely expanding the term relations rather than earlier traditional authority system which is usually expressed only with relative words (see also). So the authority control of archival management system can effectively collect and manage the function of various and multiple groups and information on main activities as well as its own function which is controlling the Heading and express the multiple and intermediary relationship between archives and producers or between producers and it also provides them with expanded Record information service which satisfies user's various requests through Indexing service. Finally applying in this international standard ISAAR(CPF) through the instance of the authority management like this, it can be referred to making Archival authority system in Collecting repository hereafter by reorganizing the description elements into appropriate formations and setting up the authority file type which is to be managed properly for every service.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.172-195
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• 2019

Among the paintings of Goam Lee Ungno (1904-1989), his works of the 1960s in Paris have been evaluated as his most avant-garde works of experimenting with and innovating objects as an artist. At that time, his works, such as Papier Colle and Abstract Letter, were influenced by abstract expressionism and Western Art Informel, illustrating his transformation from a traditional artist into a contemporary artist. An exhibition, which was held prior to his going to Paris in March 1958, has received attention because it exhibited the painting style of his early Informel art. Taking this into consideration, this study was conducted by interpreting his work from two perspectives; first, that his works of 1958 were influenced by abstract expressionism and Art Informel, and, second, that he expressed Xieyi (寫意) as literati painting, focusing on the fact that Lee Ungno first started his career adopting this style. In this paper, I aimed to confirm Lee Ungno's recognition of Art Informel and abstract painting, which can be called abstract expressionism. To achieve this, it was necessary to study Lee's painting theory at that time, so I first considered Hae-gang Kim Gyu-jin whom Lee Ungno began studying painting under, and his paintings during his time in Japan. It was confirmed that in order to escape from stereotypical paintings, deep contemplation of nature while painting was his first important principle. This principle, also known as Xieyi (寫意), lasted until the 1950s. In addition, it is highly probable that he understood the dictionary definition of abstract painting, i.e., the meaning of extracting shapes from nature according to the ideas which became important to him after studying in Japan, rather than the theory of abstract painting realized in Western paintings. Lee Ungno himself also stated that the shape of nature was the basis of abstract painting. In other words, abstractive painting and abstract painting are different concepts and based on this, it is necessary to analyze the paintings of Lee Ungno. Finally, I questioned the view that Lee Ungno's abstract paintings of the 1950s were painted as representative of the Xieyi (寫意) mind of literary art painting. Linking traditional literary art painting theory directly to Lee Ungno, who had been active in other worlds in space and time, may minimize Lee Ungno's individuality and make the distinction between traditional paintings and contemporary paintings obscure. Lee Ungno emphasized Xieyi (寫意) in his paintings; however, this might have been an emphasis signifying a great proposition. This is actually because his works produced in the 1950s, such as Self-Portrait (1956), featured painting styles with boldly distorted forms achieved by strong ink brushwork, a style which Lee Ungno defined as 'North Painting.' This is based on the view that it is necessary to distinguish between Xieyi (寫意) and 'the way of Xieyi (寫意) painting' as an important aspect of literary art painting. Therefore, his paintings need a new interpretation in consideration of the viewpoint that he represented abstract paintings according to his own Xieyi (寫意) way, rather than the view that his paintings were representations of Xieyi (寫意), or rather a succession of traditional paintings in the literary artist's style.

• Korean Journal of Heritage: History & Science
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• v.47 no.1
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• pp.116-133
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• 2014

The memorial stones of Sumanotap were known to have been sequentially produced in 1719, 1773, 1874, 1653, 1874. However, after examining the chronological era (年號) and sexagesimal cycle (干支), it was found that the second and fourth memorial stones were both recorded in 1713. The reason why the records of the same period were divided into two is assumed that since the subject to repair was divided into main structure and flagpole of the temple, and it was recorded per each monk in charge and donator. On the fifth tablet of the memorial stone of Sumanotap contains all the names of monks who were in charge of repairing Sumanotap as well as the names of common donators. These people are not verified in detail though, through comparing the Buddhist names on the third memorial stone with Buddhist paintings and painting records, 12 monks were identified to be in the same names. Generally, they were active in Gangwon province, Gyeongsang province, Seoul and Gyeonggi province in the late 19th century and even after the Sumanotap repair, they took up other duties of various temples. The most notable name among the donators recorded in the memorial stones of Sumanotap was Kim Jwageun. He was the donator for the chest of gold and silver that was enshrined in the pagoda in 1874. His name was recorded with Mrs. Yang from Cheongsin and, at that time, was known just as a donator. However, actually, the donator was not Kim Jwageun but his mistress Mrs. Yang who used to be a gisaeng, called Na-hap and was from Naju. Kim Jwageun deceased in 1869 already. It is exceptional that Mrs. Yang who were the mistress of the prime minister Kim Jwageun personally participated in the Buddhist event in which king, queen, mothers of king and queen, noblewoman participated. Besides, the event of Sumanotap repair was carried out by royal family in order to celebrate the hundredth day of the prince, Sunjong and his grandfather, Heungseon Daewongun did not participate for political reason. In this situation, the domination of Mrs. Yang is considered remarkable. Meanwhile, the temples that frequently appeared among the 10 temples recorded in the memorial stone of Sumanotap are Gakhwa-sa temple in Bonghwa-gun, Gyeongsangbuk-do and Bodeok-sa temple in Yeongwolgun, Gangwon-do. Gakhwa-sa temple was a temple where the historical achievements were kept so was under the government's control. Bodeok-sa temple was the buddhist temple praying for the soul of the Danjong buried in the tomb and was managed by the government. Therefore, the face these two temples participated in the Sumanotap repair proves that Sumanotap was repaired by the supports form these two temples and the stature of Sumanotap at that time was as high as the temples where the historical achievements are store or the royal buddhist temples for praying for ancestors' souls.

• Korean Journal of Heritage: History & Science
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• v.50 no.1
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• pp.42-57
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• 2017

The Joseon Dynasty (1392~1910) had a long tradition of making official seals to commemorate the granting of official royal titles, including posthumous honorary titles, to its kings, queens, crown princes and queen dowagers. These royal seals were typically gold-plated or made of jade. After the death of its holder, each seal would be stored in the royal seal depository in the Royal Ancestral Shrine. Extensive efforts were made to restore the traditions and culture of the royal family of Joseon during the reign of King Sukjong (r. 1674~1720). In 1705, discussions were held about the royal ceremonial objects, including the royal seals, stored in the Royal Ancestral Shrine, resulting in the reproduction of a set of accessories related with the storage of royal seals and ten golden royal seals which had been lost during wars or had yet to be made. With these reproductions, each shrine chamber of the Royal Ancestral Shrine would have had at least one seal. The details of the reproduction project were meticulously recorded in The Royal Protocol by the Directorate for the Restoration of Golden Royal Seals("金寶改造都監儀軌"). Given that the restoration project was the single event that led to the reproduction of all the golden royal seals, it is reasonable to conclude that the directorate had fulfilled a historically significant function. In this study, the main discussion is focused on the establishment of the directorate and the storage and management of the damaged royal seals. The discussion includes the manufacturing process of the golden seals, for which The Royal Protocol is compared with other similar documents in order to gain more detailed knowledge of the measurements of the turtle knob, the lost-wax casting technique, the gold plating with mercury amalgamation technique, and other ornamentation techniques. The discussion also covers the activities of the artisans who made the royal seals, based on a study of the royal protocols; the styles of the artifacts, based on an examination of the remaining examples; and the techniques used by the Directorate for the Restoration of Golden Royal Seals to produce the royal seals in 1705.

• (The)Korea Educational Review
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• v.15 no.1
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• pp.107-132
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• 2009

What is good instruction? The term "instruction" means the essential activity of school education, a precondition for good school, and the starting point of reforming school education. The purpose of this study is to investigate the meaning of "good instruction" by examining the difference of perception between in-service teachers and pre-service teachers who encompass the viewpoint of both teacher and student using open-ended questionnaires asking the type of instruction that they have to avoid and the undesirable instruction. This study was carried out with 150 teachers who were working in the schools and 160 students who were in college of education to be teacher in the future. Collected data was analyzed using the QSR Nvivo qualitative program. The findings of this study indicates the followings: First, the most undesirable class cited by in-service teachers was the class that applies uniform instructional strategy, followed by class based on directions instruction, unsystematic class, class characterized by lack of teaching competency, class that emphasizes test scores and competition, class that are not interactive enough, class that does not consider the level of students, class in which students are not respected, class that have poor educational environment, and the class in which little support is provided. Second, the most undesirable class cited by pre-service teachers was the class that applies uniform instructional strategy, followed by unsystematic class, class characterized by lack of teaching competency, class based on directions instruction, class in which students are not respected, class that emphasizes test scores and competition, class that does not consider the level of students, class that are not interactive enough, class that have poor educational environment, and the class in which little support is provided. Third, this study examined the difference of perception between in-service teachers and pre-service teachers toward the undesirable class that they have to avoid. In terms of the integrated rank that is common among in-service teachers and pre-service teachers, the most undesirable class that they have to avoid was the class that applies uniform instructional strategy, unsystematic class, class based on directions instruction, and class characterized by lack of teaching competency. The findings of this study may be used as a basis for in-service teachers to reflect on their professionalism of instruction that they provide and examine the attitude of students toward instruction, while providing a practical guideline for pre-service teachers to design and ensure systematic instruction in the future.

• Asia-Pacific Journal of Business Venturing and Entrepreneurship
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• v.13 no.6
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• pp.49-62
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• 2018

The purpose of this study is to develop an assessment index for the selection of promising start-ups, which will enhance the efficiency of program that support start-ups. In order to develop assessment models for selecting start-ups, three major research steps were conducted. First, this study attempted to theoretically redefine the assessment index from the perspective of the Balanced Scorecard (BSC) through a literature review. Second, major assessment index were derived using Delphi technique for experts in start-up areas. Third, weights were derived by applying AHP technique to calculate the importance of each index. The results of this study are summarized as follows. First, this study attempted to apply the assessment model for selecting start-ups from the Balanced Scorecard (BSC) view through the previous study review. Second, the final major questions were derived with sufficient opinions collected and structured survey of leading start-up experts in areas related to research subjects and elicited the most representative questions. Third, the results of applying the weights of the main selected assessment index, commercialization viewpoint is the most priority, followed by market view, technology development viewpoint, and organizational capability viewpoint. In the middle section, th ability to make products in the commercialization viewpoint, market competitiveness in the market, product discrimination capacity in the technology development perspective, and the ability of the entrepreneur in the organizational capacity perspective were important. Overall important items were found to be in the order of the capabilities of entrepreneurs, market competitiveness, product fire capability, and product discrimination. The importance of small items was highest priority for comparative excellence of competing products, and the degree of marketability, capacity of entrepreneurship, ability to raise capital, desire for entrepreneurship, and passion were shown. The results of this study presented a conceptual alternative to the preceding study on the development of existing selection assessment indexes. And it provides meaningful and important implications as an attempt to develop more sophisticated indicators by overcoming the limitations of empirical research on only some of the evaluation metrics.

• 대한공업교육학회지
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• v.44 no.1
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• pp.23-51
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• 2019

The purpose of this study was to analysis school dropout of specialized vocational high school students using phenomenological research method. The interview for the research was carried out with 10 adolescents who dropped out specialized vocational high school from December 8 to 23, 2018. According to the result of the research, 31 themes were extracted from interviews with 10 research participants. And 10 theme clusters were categorized from these. And these clusters were divided into 3 domains : 'before school dropout', 'causes & process of school dropout, feeling about school dropout', 'after school dropout' Based on the finding of the study, major conclusions of this study were as follow: First, adolescents who dropped out specialized vocational high school suffered from hard school life, disappointing lead from teachers, stereotypical lesson. And they committed misdeeds, and had psychological difficulties. Some of them kept up the good relationship with their friends, teachers, parents, some of them did not. Some of them kept up the good relationship with their friends, teachers and parents, while some of them did not. Second, they chose dropout due to various different causes. The procedures of school dropout proceeded with comparative ease. The effect of dropout prevention program is very limited. The feeling they felt at the time of school dropout varied individually. Some adolescents who dropped out specialized vocational high school were satisfied while others were stressed out, regretting their decision. Third, they lived diligently working part-time jobs or preparing General Equivalency Diploma (GED) test after dropout. They experienced positive changes in their daily lives after dropout. But sometimes they experienced various difficulties and negative changes. Most of them had their goals, and they were preparing for them. Their expectation was low that their life will succeed if they returned to school. They wanted people to understand their decision about dropout. And multiple institutions are supporting adolescents who dropped out specialized vocational high school. They need practical support : Various information, activity for career experience, counseling etc.

• (The) Research of the performance art and culture
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• no.36
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• pp.75-102
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• 2018

Manjungpan Chunhyangga is established by Manjung Kim Sohee. She selectively chose and arranged the songs by Jung Jungryeol, Song Mangap, Jung Eungmin, Kim Yeonsoo, Park Dongsil, and Jung Kwangsil. Kim Sohee once stated that while a major section of Chunhyangga is based on the songs by Jung Jungryeol, Song Mangap, Jung Eungmin, and Kim Yeonsoo, the whole part of Okjungga is derived from Park Dongsil. However, there is not much material that will provide enough information with regard to what musical characteristics Park Dongsilje Chunhyangga possessed. Under the circumstances, the voice of Park Dongsilje, left by Kim Sohee, triggers curiosity on Park Dongsilje Chunhyangga. It can also be construed that there must be a good reason for choosing Park Dongsilje for Okjungga, unlike other parts. Therefore, this paper attempted to find out what the unique features of Par Dongsilje are and what the reasons behind Kim Sohee's musical choice were through comparison and analysis of Kim Sohee's musical features in Okjungga. The following are the results. Firstly, Okjungga is a created verse by its nature and it does not possess specific features to a school. Therefore, the reason for choosing Park Dongsilje could have been based on musical reason rather than verse. Secondly, the lyrics of Park Dongsilje Okjungga is closer to that of Song Mangap rather than that of Jung Jungryeolje. It can be argued that it falls between the two of them. Thirdly, the tone and melody of Park Dongsilje Okjungga falls in the middle section of Dongpyenje and Supyenje. Fourthly, the analysis of Jinyangjo rhythm out of the whole Manjungpan Chunhyangga shows that there are slight differences among Song Mangapje, Jung Jungryeolje, and Jung Eungminje. Park Dongsilje is very unique in the sense that it does not use utbutim in gyemyeonjo part in Manjungpan Chunhyangga. Park Dongsilje Okjungga is a song to which the tone, melody, and sigimsae of Supyeonje is added to lyric butimsae of Dongpyeonje. It can be seemed as simple and less sophisticated because, with its simple lyric butimsae, it shows a less complicated tone utilization rather than Jung Jungryeol. With lighter decoration of music, feelings can be conveyed more directly. That is probably why Kim Sohee commented on Park Dongsilje Chunhyangga that it is the most mournful song for Chunhyang and it is the song that moves anyone who listens to the song. Consequently, Kim Sohee accepted Park Dongsilje Okjungga and she created different feelings to Manjungpan Chunhyangga which has repeatedly displayed the color of Jung Jungryeol. Combining the lyric addition of Dongpyeon style and the melody of Supyeon style can crated a different language.