• Journal of the Korean Society of Fisheries and Ocean Technology
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• v.36 no.4
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• pp.299-308
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• 2000

A model experiment on the anchovy boat seine was carried out in the southern sea of korea to analyze the vertical opening and the underwater geometry. The model net A was made of half size in the length and width of the prototype net. The model net B was attached floats and chain to the model net-A. The vertical opening and the underwater geometry of the model net were determined by distance of Minilog position with the combinations of the distance between paired boats and the towing speed. The results obtained can be summarized as follows; 1. Vertical opening of the model net was gradually lowered according to the increase of the distance between paired beats and the towing speed. 2. Vertical opening of Wing net, In side wing net, Square, Fore bag net, Flapper and After bag net of the model net A according to the distance between paired boats were varied in the range of 10.8~9.0, 12.0~8.3, 12.6~9.0, 10.4~6.6, 4.6~5.2, 8.8~7.7m respectively, varied in the range of 36~30, 21~15, 31~22, 80~51, 80~96, 59~51% of the normal opening respectively 3. Vertical opening of Wing net, In side wing net, Square, Fore bag net, Flapper and After bag net of the model net B according to the distance between paired boats were varied in the range of 9.1~8.5, 9.8~6.5, 11.2~8.0, 11.0~8.1, 4.7~5.0, 7.0~7.5m respectively, varied in the range of 30~28, 18~12, 27~20, 85~62, 87~93, 47~50% of the normal opening respectively 4. Vertical opening of each a part of the model net according to the towing speed was as same as the former. 5. Model net was appeared apparent the pocket shape, because Wing net and Inside wing net was opened 30% of the normal opening. 6. The bosom and the bag net of the model net A were risen up to the upper lazer, this phenomenon was more apparent as the distance between paired boats and the towing speed increase, but the model net B was almost constant. 7. Working depth of the model net was gradually hallowed according to the increase of the distance between paired boats and the towing speed

• 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.

• (The) Research of the performance art and culture
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• no.34
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• pp.9-42
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• 2017

Of all Geommu(劍舞, Korean sword dance), Gisaeng-Geommu danced by gisaeng(妓生, Korean female entertainers) for private guests and at the royal court. The Sword dance in the late Joseon Dynasty used to be dynamic exuding menacing "sword spirit(劍氣)." Sword dance being transmitted today is more ritualistic and elegant. This study considers Korean sword dance has a core structure and motifs transcending generational differences, and based on this critical thinking, aims to analyze the structure of Korean sword dance. This study analyzed the prose "Geommugi(劍舞記)" by Park Je-ga(朴齊家) and the poem "Mugeompyeonjeongmiin(舞劍篇贈美人)" by Jeong Yak-yong(丁若鏞) out of literary works from the late Joseon Dynasty, and from official records of rituals(笏記), "Geomgimu(Sword Dance, 劍器舞)" and "Geommu" in "Gyobanggayo(敎坊歌謠)." In the introduction part of Sword dance, a dancer appears, bows and performs a hand dance or hansam(汗衫) dance to and fro. In the development part, a dancer meets with a sword but first hesitates to hold it and dances holding swords in both hands. The climax shows expert sword skills and combat scenes. In the conclusion part, the court dance involves a dancer bidding a formal farewell, while the dance for entertainment, a dance throws away the sword to finish. From literature materials, the structure of Korean sword dance could be divided into an introduction, a development, a climax and a conclusion. Based on this, this study analyzed sword dance movements by linking the beats accompanying the current sword dance, in the order of a Yeombul, the traditional Korean ballad Taryeong or Neujeun Taryeong, Jajin Taryeong, Taryeong and Jajin Taryeong. The introduction part includes a Buddhist prayer and the beginning of Taryeong. Dancers appear, and in two rows they dance facing each other. On the slow beat, their dances are relaxed and elegant. The development part is matched with Jajin Taryeong. Dancers sit in front of swords and grab them, and they dance holding a pair of swords. The beat gradually becomes faster, progressing the development of the dance. But then, the slower Taryeong is placed again. The reason behind it is to create a tension for a little while, before effectively reaching a climax by speeding up the tempo again. Moving on to Jajin Taryeong, dancers' movements are bigger and more dynamic. The highly elated Jajin Taryeong shows dance movements at the climax on fast, robust beats. In the conclusion part, the beat is quick-tempo and on the upbeat again on Jajin Taryeong. Driving on without a stop on the exciting Yeonpungdae(燕風臺) melody, dancers standing in a line dance wielding the swords and bow before finishing.

• The Journal of the Korea Contents Association
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• v.13 no.7
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• pp.131-140
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• 2013

Power shoulder look is most noticeable trend in women's wear in the 09/10 season. Specially jackets with sharper angle and wider shoulder became the best item since then, and were chosen for must-have item by fashion directors. Jacket occupied 50% in power shoulder items. Its shoulder angle was from 0 to 30 degree but items with 15 degree stood out among them. There are three methods to make power shoulder look jackets; shoulder extension method with moving shoulder tip up and sleeve cap height, method of extension and cutting sleeve cap with shorten shoulder length, and method of extension and moving shoulder tip up in the sleeve with shoulder line like raglan sleeve. As a result, shoulder angle is higher, starting point of shoulder line is closer to side neck point and shoulder point is extender to outside for appearance and fit. In shoulder extension method, the arm hole line was drawn with care by matching joining shoulder seam and setting the sleeve into the arm hole. In sleeve cap transformation, it is desired that starting point shoulder angle is moved closely to side neck point. In case of the sleeve with shoulder line, it needs to consider enough ease of shoulder and upper arm. For making patterns of power shoulder look jacket, it need to consider arm hole line, shoulder length, shoulder point position, sleeve cap height and sleeve width with interpretation design facts. In this study, through the analysis clothing construction method of power shoulder jacket, it is of help to pattern making for various power shoulder design items.

• Communications of Mathematical Education
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• v.33 no.3
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• pp.295-317
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• 2019

Angle concept is widely used in all mathematics curriculums and is a basic concept in geometric domain. Since angle have a multifaceted and affect subsequent learning, it is necessary for students to understand various angle concepts. In this study, Singapore, U.K., Australia, and U.S. are selected as comparable countries to examine the angle-related contents and learning process that appear in the curriculum as a whole, and then look at the perspectives and the size aspects of angle in detail and give implications to the Korean curriculum based on them. According to the analysis, the four countries except Korea, supplement angle, complement angle, angles on a straight line, angles at a point, and finding angle were explicitly covered in the curriculum. And most countries gradually covered angle-related contents over several years, compared to Korea which intensively studied in a particular school year. In common, definition of angle was described as static, measurement of angle was described as dynamic. But in Korean curriculum, dynamic views on angles are described later and less compared to other countries, and range of angle size was narrower than in other countries'. From this comparison, this study suggest to discuss how to place and develop various contents of characteristics of angle in curriculum, address the angle using both static and dynamic perspectives, and introduce the angle size as the amount of rotation to learn the reflex angle, $180^{\circ}$, $360^{\circ}$ angle.

• Journal of the Korean Society of Fisheries and Ocean Technology
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• v.41 no.1
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• pp.9-16
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• 2005

This study was conducted in order to improvement of fishing gear and fishing operating system for anchovy boat seine by labor saving improved nets. Field experiments were carried out observe geometry of nets and fishing operating system by catcher boats. The obtained results are summarized as follows : The Vertical net opening of fore wing net, wing net, inside wing net, square, fore bag net, flapper, after bag net of the labor saving improved net according to the distance between catcher boats were varied in the range of 5.0${\sim}$7.8, 14.4${\sim}$21.1, 16.2${\sim}$21.2, 14.0${\sim}$17.3, 11.7${\sim}$13.9, 5.4${\sim}$6.9, 8.2${\sim}$9.8m respectively, varied in the range of 50${\sim}$78, 25${\sim}$36, 24${\sim}$31, 31${\sim}$38, 61${\sim}$73, 71${\sim}$91, 87${\sim}$104% of the actual ratio of net opening in each part. Labor saving improved net was performed instant net opening in fore wing net and maintained stable net opening and towing depth by means of attached net pendant. Also, it was minimized as net pocket phenomenon leading to guide anchovy for more catch by means of attached body net. The opening in accordance with distance between catcher boats and towing speed. The catch of labor saving improved net was increased than traditional net due to decrement of net resistance by improvement of bag net leading to increasement of towing speed and reduction of escape anchovy as well as improve nets of whole operation system.

• Sijohaknonchong
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• v.42
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• pp.29-68
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• 2015

This article focused on the development and current status of Sijo-chang, the Korean classical vocal genre, which is the text as a fixed form of Korean classical poems. Historically, Sijo-chang has originally emerged from Hyangga鄕歌 during Silla period (BC. 57- AD. 935). However, the current Sijo-chang has been developed from the latter of Joseon朝鮮 period(AD. 1392-1910) in 1800s. Since 1800s, Sijo-chang derived from the Gyeong-je Pyeong sijo京制 平時調, which was established in Seoul, was able to accelerate its musical types and regional characteristics among the Korean peninsula. By setting a clear division of two time periods between 1800s and those periods since 1900s to today, this article mainly explains how Sijo-chang has been developed historically. First of all, in order to appraise the musical styles and characteristics of Sijo-chang in 1800s, comparing the current musical types of Sijo-chang and those printed old score books which has its historical musical characteristics during 1800s is necessary. Secondly, this paper concentrated on the transmitted lineages of representative vocalists among the regional-based Sijo-chang from 1900s to today. During those periods, the Sijo-chang has formed its particular regional-based musical characteristics among the Korean peninsula such as Yeong-je嶺制 of Gyeongsang province慶尙道, Naepo-je內浦制 of Chungcheong province忠淸道 and Wan-je完制 of Cheolla province全羅道. Although it was not a type of regional-based Sijo-chang, as a creation with reference based on certain regional types of Sijo-chang in 1960s, this paper introduced the inheritance process of Seogam-je石菴制 which was made by Jung Gyeong-tae鄭坰兌 named Seogam石菴 as his pen name. Since Seogam-je has been singing as the most influential musical types of Sijo-chang through the mainly southern region of Korean peninsula and even in Seoul, it was highly significant to research it. In addition, this paper elaborately highlighted the developments of various Sijo-chang based on its historical performances, studies, and the composed pieces from the early 1900s or the mid-1900s. In conclusion, in order to set a vigorous development of Sijo-chang, this paper raised several concerns among the future of Sijo-Chang and the significance of its traditional value.

• (The) Research of the performance art and culture
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• no.42
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• pp.77-106
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• 2021

The history of The Korean Buddhist music dates back to as early as the 2nd year of Goguryeo King Sosoorim's reign (372) when Buddhism was introduced to the land for the first time and should cover the entire development to this date, which spans over 1,600 years. The extensive scope of research is overwhelming and research efforts are limited at best. Against this backdrop, this study aims to examine how the historical development of The Korean Buddhist music has unfolded over such a long period of time and to understand how the Buddhist music is supposed to further develop in this land in and after the 21st century. Since the Three Kingdoms period, followed by Goryeo and Joseon Dynasty period, Japanese colonial period, and to this date, the history of the Buddhist music has unfolded in line with the 'ups and downs of the history of Buddhism'. The Buddhist music is characterized by various development paths based on historical peculiarities over different periods, including protection by the royal family during the Three Kingdoms period, aspect of Buddhist music during the Goryeo Dynasty period, policy to worship Confucianism and suppress Buddhism during the Joseon Dynasty period, harsh repression of Buddhism during the Japanese colonial period, and the present Buddhist music seeking new ways of proliferating Buddhism among the public, which requires an effort to understand the different characteristics of different periods by identifying key perspectives and tasks of Buddhist music in different periods. In this vein, this article includes not only the history of 'Beompae(Buddhist Chant)', a collective term for Buddhist music in a narrow sense but also all Buddhist music characterized by with Buddhism that is communicated in this land and extends its coverage even to Chanbulga(Buddhist hymn)讚佛歌 music created in and after the 20th century. It also examines the historical development of Buddhism related music in this land. Another task of this article is to understand the Myeongching-gagok 名稱歌曲 sung by monks in the early Joseon Dynasty period, music created for public mission work during the Joseon Dynasty period, the meaning of the existence of 'Hwacheong' 和請, and the traces of Buddhist music existing in the music of the Joseon Dynasty period.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• v.9 no.1
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• pp.453-456
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• 2005

In this paper, we propose method to improve recognition performance using the most effective algorithm selectively after clustering various face data, because recognition performance of each algorithm according to facial attribute is change. The proposed face recognition is divided into two steps. First step is the clustering integrated various data to be optimized in algorithm. Second is that classify input image by a similar cluster, select suitable algorithm and recognize the target. This thesis takes the first step towards the creation of a synthetic classifier fusiontesting environment. The effects of data correlation on three classifier fusion techniques were examined. We proposed fusion method for each recognition algorithm's result. This research explores how the degree of correlation in classification data affects the degree of accuracy in a fusion context.

• The Korean Journal of Financial Studies
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• v.12 no.1
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• pp.45-62
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• 2006

M. C. Jensen과 W. H. Meckling이 쓴 'The Nature of Man' 논문의 핵심은 역시 REMM(Resourceful Evaluative Maximizing Model)이다. REMM이라는 용어는 새롭지만 개념은 200년 이상의 연구와 경제학과 사회과학과 철학적 토론의 산물이라는 것이다. REMM에서의 핵심은 Resourceful이다. 어떤 이론이나 정책이건 어떤 가정과 한계가 있다는 의미로 사용할 수도 있다. 재무관리의 모태인 경제학에서 지금까지 사용된 모델은 고전 경제학시대부터 일관되어 왔던 추상적 의미의 이익(효용)극대화 모델이다. 재무관리는 그 목적이 궁극적으로 인간의 소비선호체계를(people's consumption preference) 극대화 하는 것이고, 한정된 자원(scare resources)을 시간에 따라 어떻게 배분하여 효용(utility)을 극대화하는 것을 중심과제로 삼고 있다. 효용의 극대화를 위한 자원배분은 생산자원을 어떻게 배합하여 가치생산을 극대화하느냐 하는 생산에의 배분문제와 생산된 재화 및 서비스를 사람들의 욕구충족을 최대로 하는 소비에의 배분문제로 나눠 생각해 볼 수 있다. 그런데 적어도 재무관리에서는 후자는 다루지 않고 가치생산의 문제만 다룬다. 이러한 가정하에서 재무관리의 목표와 이에 따르는 재무관리이론(가정)의 전개는 가치창조와 소비에의 배분을 통한 효용의 극대화를 다루는 경제학의 이론을 답습함으로 일부 혼선을 불러올 수 있다. 위험에 대한 재무담당자(투자자)의 태도를 재무관리의 입장이 아니라 경제현상 전체에 해당되는 입장에서 다루므로 각 각의 교재마다. 투자자의 부 또는 수익에 대한 효용과, 위험과 수익에 대한 무차별곡선이 달리 표현되고 있다. 재무관리 책에서는 재무관리의 가정하에서 투자자의 수익에 대한 효용, 그리고 수익과 위험에 대한 무차별곡선이 정립되어야 할 것이다.