• Journal of the Korea Institute of Information and Communication Engineering
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• v.15 no.12
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• pp.2712-2716
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• 2011

The development of mobile phone is growing everyday according to the change of our age. Most of all, the birth of smart phone has gotten lots of attentions. The Smart Phone has not only nalogue functions for calling and receiving but also has many multiple-service functions satisfying the contemporary digital needs. Due to the smart phone, people could access to various and plenty information simply by touching it. It was Sep. 2011 that the number of smart phone users began to be more than 15,000,000. That number stands for the turning point of digital revolution. In Korea, both of "Omnia" from Samsung and "i-phone" from Apple came into the market near the end of 2009. That time was so called the full-scale first smart-phone war, and thinking of the time, it could be named as the explosive growth of smart phones. We can predict that the smart phone will influence the real life of human beings not only the mobile phone market. In this way, the smart phone has come deeply into our life day by day. For instance, more people can be able to get the informations of their trip for their leisure and free weekends through the smart phone. Thus, our study, began with the theme of "Korean islands trip", will start in the relationship with the Application-Services, "Islands" utilizing web-pictures.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.1
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• pp.1-9
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• 2020

This paper investigates spatial composition and landscape characteristics of the royal tomb(Jangneung in Paju) where the 12th King(Injo) and the Queen(InnYeol) of the Joseon Dynasty are buried. Based on the investigations, the study suggests the management plan of the Royal tomb at the end. The study includes research on ancient literature and the on-site survey to estimate the ancient landscape architecture of the Royal tomb. Thereby, it is intended to provide the basic data for the identification, preservation, and restoration of the landscape architecture. As a result of the study, first, Jangneung is confirmed that it is a typical formal landscape structure of the Royal tomb in the Joseon Dynasty. Second, Ecological resources around the royal tombs are consistent with previous records and current field research. Third, although the Japanese colonial rule damaged much of the Royal tomb, it preserves much of its core facilities. However, the restoration of ancillary facilities is required, and a World Heritage Conservation Management Plan is required that complies with the ICOMOS Charter.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.1
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• pp.48-56
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• 2017

The purpose of this study is to analyze the 'identity' found in constructional characteristics of Geumgok Hongneung, the first imperial tomb of Korean empire. In terms of "sameness", which states for internal self-cognition among ambivalent situations while consisting identity, Hongneung inherited the prosperity of the Chosun dynasty, possessed 'sustainability' related to Cheongryangri Hongneung of Empress Myeongseong, as well as revealed various 'identitification' of situations in order to expose self-esteem as emperor and imperial nations. On the other hand, in terms of "individuality" as an external self-cognition, the opposite phase of sameness, Hongneung is a mixture of the will of Emperor Gojong and Japanese intervention hence formed 5th styles of royal tombs through 'peculiarity' which distinguishes it from the original tradition. In addition, the value of Hongneung is that it actually reflects the confusing and difficult times of the old ages, and it also involves 'excellence' as the place of the according a state funeral of Emperor Gojong and provoking March First Independence Movement. Thus, Geumgok Hongneung is a recorded landscape that clearly reflects the times of royal tombs of the Chosun dynasty, the world cultural heritage, and also the historic landscape showing extraordinary landscape of unique characteristics, 'Hwangjereung'.

• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.96-111
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• 2009

This essay is a study aimed at rationality and utility of two terms, 'Nongak' and 'Pungmul'. I examined how the terms have been today, by diachrony based on review of historical material. I tried to secure the historical context and basis about my argument, quoting many historical material from Korea Dynasty period, Joseon Dynasty period and the colonial period of the imperial Japan during 1910-45 to today. I examined many objective arguments about the 'Nongak', and pointed out the mistake of the objective argument. And I examined the means and rationality of the terms, 'Nongak', 'Pungmul', 'Pungmulgut', 'Pungmulnory'. The 'Pungmul' has been used as the means of instrument for a long time from Joseon Dynasty period. It is only rational using as the means of instrument but as the means of Performance of Nongak considering the historical legitimacy. The 'Pungmul' is Sino-Korean word, not korean native letter. The Pungmulgut means the 'ritual by Pungmul', so it can be recognized the rationality, but have a weak point that it is a neologism being made by some intellectuals in 1980s. In addition to, it is not used im performing field. 'Pungmulnory' has a limit to call the Nongak as a synthetic art. 'Nongak'means a synthetic art that farmers who were absolute majority in agrarian society of Korea have made and developed. So I conclude that 'Nongak'is the best rational term.

• Journal of the Korean Association of Geographic Information Studies
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• v.22 no.3
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• pp.51-64
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• 2019

Mt. Geumgang has been a scenic spot representing the Korean peninsula since the Joseon Dynasty, and became a symbol of inter-Korean exchanges with the Gaesong Industrial Complex after the division of the South and North. Mt. Geumgang Tour Course is divided into the Inner-Geumgang (Naegeumgang) and the Outer-Geumgang (Oegeumgang). It was common for the Mt. Geumgang tour route during the Joseon Dynasty and the Japanese Imperialization period to enter the Inner-Geumgang, near Seoul, and come to the East Sea through the Outer-Geumgang. However, the tour route starting from Goseong was utilized for the Mt. Geumgang tour course operated by Hyundai. Because North Korea opened only the Outer-Geumgang area. North Korea has only opened some of its tour courses to Hyundai, but if Geumgang tourism is resumed in the future, there is a high possibility that it will be opened further, such as opening some sections of the Inner-Geumgang in 2007. In this case, it is necessary to connect additional transportation networks to access Inner-Geumgang from South Korea. The best alternative was the restoration of the Mt. Geumgang Railway. However, considering the fact that the reconstruction of the Mt. Geumgang Railway can not be completed due to the construction of the Imnam Dam, it is the most realistic alternative to restore Route 31 connecting Yanggu and Geumgang-eup. As a result of the analysis of road connecting Inner-Geumgang, three routes were confirmed. All of which were adjacent to the existing National Route 31. These routes passing through Dutayeon and Mundeung-ri and joining the Route 31 from Inje. Considering road length, topography characteristics, and military facility layout, it seems that the connection of 'Dutaeyun - Mundeung - Geumgang' is a realistic alternative connecting from South Korea to Inner-Geumgang.

• Asia-pacific Journal of Multimedia Services Convergent with Art, Humanities, and Sociology
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• v.9 no.12
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• pp.439-451
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• 2019

This study is about the historical records of anchovy which has fluent nutritions as well as the representative side dish in Korean food culture and life. The formal first record about anchovy is in the Uhaeieobo written by Damjeung in 1803. Another important historical record about anchovy are Hyeonsaneobo(Jasaneobo) written by Jeong Yak-jeon in 1814, and Eomyeonggo(Fish name list) of Nanhoeomogji written by Seo Yu-gu in 1820. The anchovies were used for food in Korea even before the Chosun Dynasty, but they were not noticed by people. Because at that time, fishing tools and instruments such as nets were not developed enough to raise enough catches and food processing technology were not developed. Since then, in the Japanese colonial era, it has been actively developing agricultural fertilizers using anchovies. In addition, the processing technology that can be used as an edible food using anchovy has been rapidly developed. Now, the anchovy industry has very important position in Korea's fisheries industry. Among them, 'Jukbangryum anchovy' catching bamboo weir tool which has been existed for over five hundred years in Namhae province, not only creates great high economic value, but also has cultural value. Therefore, the historical literature study on anchovy can be used as an invaluable resource not only for the study of fishery from an industrial point of view, but also for the registration of world cultural heritage and GIAHS (Globally Important Agricultural Heritage System) of 'Jukbangryum' which is traditional fishery catching instrument in Korea.

• Journal of Korean Historical Folklife
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• no.44
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• pp.7-37
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• 2014

The people of Silla was described as the descendants of Hwagwan(official of fire) on the tombstone of King Munmu(文武王), and Gim Yusin(金庾信) was described as the descendants of Shaohao Jintian(少昊 金天) and Huangdi Xuanyuan(黃帝 軒轅) on his tombstone. It says that the royal households of Silla and Gaya had common ancestor. Hwagwan was the official who took charge of fire management and the ritual for Antares(${\alpha}$ Sco) in ancient China. Hed founded State Ra(羅國). The name of Silla(新羅) means new State Ra, so he could become the ancestor of the people of Silla. He was the son of Zuanxu Gaoyang. State Gaya(加耶), the fatherland of Gim Yusin had been called Geumgwan-gug(金官國) which means the state of official of metal. Geumgwan was the son of Shaohao Jintian. Silla was the state of Hwagwan and the Gaya was the state of Geumgwan. Hwagwan, the founder of the royal household of Silla was the son of Zuanxu and Geumgwan, the founder of the royal household of Gaya was the son of Shaohao. Zuanxu and Shaohao was the descendants of Hwangdi, so Hwangdi was the common ancestor of Silla and Gaya. Finally Hwangdi became the same ancestor of Gim Yusin and King Muyeol(武烈王) who was the father of King Munmu. The tombstone of King Munmu and Gim Yusin manifests the union of the blood of Gim Yusin and King Muyeol. But it was not the fact but the rhetorical fiction.

• The Journal of the Convergence on Culture Technology
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• v.7 no.1
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• pp.377-382
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• 2021

《Mu Yang Ai Hua, 牧羊哀話》 is known as the first Korean-sanctioned novel in the history of modern Chinese literature, and is famous for a novel created by the author himself visiting Korea and being inspired. The translation of 《牧羊哀話》 is constantly being re-translated (4 types). These translations also reflect the characteristics of each period, and the translation strategies used have their own characteristics. The results of the comparative analysis of the four types of translations in this study are as follows. The role A was published during the Japanese colonial period, and some parts were reduced and omitted according to the intent of the translator, and a foreignization translation strategy was used. B, C, and D have implemented content equivalence by utilizing many of the localization translation strategies, and added supplementary explanations in part to help readers understand. Since translation is a process of communication, it should not just convert the source text to the target text, but the target reader's response to the work should be the same as that of the reader. Therefore, translation must be able to understand the environment of the times and the readership, and it must use all possible methods to elicit the same emotion and empathy as the reader has read the original text. Therefore, translators need to use their nationalization and foreignization strategies at the same time based on their understanding of the target language and the politics, economy, history, culture, etc. of the destination country.

• (The) Research of the performance art and culture
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• no.40
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• pp.37-69
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• 2020

This study was designed to investigate the characteristics, aesthetics, similarities and differences through the flow of Korean female movies. In order to carry out this study, four movies with representations of each age had to be selected. These four films are respectively Sweet Dream produced during the Japanese colonial period, Madame Freedom which prompted the debate on feminism in the 1950s, The Silver Stallion Will Never Come which combines the devastated lives of women in the 1990s with anti-malevolent views, and A Good Lawyer's Wife which presents a futuristic selection of Korean feminist films. Especially, these works are noteworthy in that they guarantee the typicality and representative of Korean films in each period. Based on this, two common motifs appearing in these works have been intensively studied. One is a 'cage' motif that symbolizes women's detention and the other is a 'mirror' motif that women need to be aware of their situation and check the current situation. Korean women's films have not only shared some of the motifs of 'Cage' and 'Mirror', but also have focused on conveying the author's message that ultimately aimed at linking these motifs.

• (The) Research of the performance art and culture
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• no.39
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• pp.357-392
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• 2019

This paper reexamines the formation process of Ch'anggŭk, Korea's musical drama based on p'ansori in the 1930s, focusing on the Ch'anggŭk gramophone records and the repertoire of the Chosŏn Sŏngak Yŏn'guhoe(Korean Vocal Music Association). The paper discussed the achievements and limitations of the Chosŏn Sŏngak Yŏn'guhoe which was at the center of the formation of Ch'anggŭk by examining the activities of the Chosŏn Sŏngak Yŏn'guhoe in the 1930s. The role of 'ipche-chang' and 'narrator' in the Ch'anggŭk gramophone records was seen as Ch'anggŭk imagination that was realized by the members of the Chosŏn Sŏngak Yŏn'guhoe who recognized the 'dramatic space and stage', which is distinct from p'ansori, Korean traditional vocal and percussion music. In addition, the paper discussed the difference and meaning of the concept of 'Sin-Ch'anggŭk' between Seo Hang-Seok and Song Seok-Ha, which is derived from the Ch'anggŭk formation. The performance of stage Ch'anggŭk in the 1930s was a repetition of the discussion that it should reach a point of Kagŭk, music or song dramas. This paper discussed the process of replacing the term 'Ch'anggŭk' with 'Kagŭk' at the time, and examined the way Ch'anggŭk stage was established as a perfect form during the process. The formation of Ch'anggŭk by members of the Chosŏn Sŏngak Yŏn'guhoe could be an important achievement in the history of Ch'anggŭk, but there was no choice but to reveal the limitation in the formal aspect due to the 'refinement' and 'exclusion' according to the cultural policy of Japan. P'ansori musicality was enhanced, but it could not contain the spirit and diversity of the times, so it could be said that there was no choice but to stop as a rudimentary creative imagination of Ch'anggŭk. Ch'anggŭk is a genre that is inherently limited, but the limitation can be overcome over the times, which will be covered in a subsequent paper.