• (The) Research of the performance art and culture
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• no.20
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• pp.5-30
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• 2010

It has been diversified and serious attempt to establish the identity of Changgeuk, but it is still independent dramaturgy or the current unformed progressive art. In this situation, exploring works of the identity of changgeuk that is base on the performed individual and specific works in the title of Changgeuk is needed. The 80s and 90s Heo, Gyu was leading an active life as a director who was responsible for directing of Changgeuk. He dramatized Siljeon Pansori -which is a group of Pansori missing text- as well as 5-remained Songs in Pansori and he presented a number of creative Changgeuk works on stage. Especially, the completion of dramatizing 5-remained Songs in Pansori under the name of 'Wanpan Changgeuk -which means full version performance without omit-' is the one of his big achievement by performing "Heungbojeon" on the stage 1982 and "Jeokbyeokga" 1985. The purposes of this research are confirmation of Heo's direction of the formulation and considering its characteristics & significance through 'Wanpan Changgeuk' which written by Heo. Heo was a practical play who was interested in the subjective formulation of national culture and creative transmission for Korean traditional performance. He tried to formulate Changgeuk to a representative performance of Korea. In the process he pointed out those problems, (1) interpretation of a work problem, (2) actor's creative problems, (3) structure problem of theater for Changgeuk. He indicated that the other challenges are to use of the stage & device, to overcome sentimentalism, to stylize acting, to improve own quality, to control the speed and length of the song, to choose the suitable musical accompaniment, to create new repertories problems, and etc. Changgeuk is classified in 3 group by origin, (1)dramatizing of 5-remained Songs, (2)dramatizing of 7-missing Songs, (3)creative dramatizing. It contains all of 3 types that Heo's work. The dramatizing of remained 5 Songs are the great importance among those works. Heo hoped that Chaggeuk has become the most representative art work of Korea by performing 'Wanpan Changgeuk' compiled heritage of Korea's outstanding artistic achievement. The characteristics of 'Wanpan Changgeuk' can be summarized following four. (1) Directing attitudes that emphasizes tradition, (2) Accepting the elements of traditional performance actively, (3) Valuing the classy and ethic, (4) Emphasizing humor and active utilizing of the secondary characters. Heo's 'Wanpan Changgeuk' shows a peak of the artistic level which Changgeuk can be reached. He want to make Changgeuk a Korean representative artistic performance by compiling Pansori heritage and accommodating Korean traditional performance. Heo continued his effort to present Pansori's authenticity and to dramatize from beginning to end without missing. It shows very well that 'Wanpan Changgeuk' takes 4~5 hours for playing. It looks Heo's achievement in the 'Wanpan Changgeuk' influenced Changgeuk significantly since then. Heo's 'Wanpan Changgeuk' is matrix of 'Wanpan JangMak Changgeuk' attempted in the 1990s. Especially, their intent is consistent to synthesize texts and to show all the virtue of Pansori. But 90's 'Wanpan JangMak Changgeuk' aim for large stage, fancy device & costume and variety contents compared with 'Wanpan Changgeuk'. Recently, producers have tried not to make a impressive Changgeuk but to make a interesting one. They usually organize performance within 2 hours and prefer orchestral music to its unique sound. In those point of view, it seems that Heo's idle in 'Wanpan Changgeuk' has become one of target to conquer in these days.

• Journal of Distribution Science
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• v.10 no.3
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• pp.15-30
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• 2012

It has been 10 years since the facility modernization projects of traditional markets was rigorously undertaken. Although more than 835 traditional Korean markets nationwide have already completed these projects, there does not exist a specific set of standards of installation, future maintenance, and management. As a result, the complaints made by civil stakeholders in accordance of the actual facility installation caused problems and delays of related projects. In addition, while some local governments secured and implemented their own differing standards, others have not yet established their own separate standards for maintenance and management. Specifically, 694 traditional markets nationwide were supported for the cost of installing arcades by 2010. For the short period of time after the arcade-supported projects were deployed, the number of the traditional markets had been rapidly growing as a prime example of the facility modernization projects. The arcade facilities are being planned and installed merely for screening the rain or the sun. Without fundamental data for the newly landscaped environments or information on the actual conditions of usage and assessment, there is a lack of comprehensive approaches that could possibly organize the public environments. Furthermore, the amount of support needed for repairs, maintenance, and management from the central and local governments is gradually increasing. Thus, it becomes both crucial and necessary to complement the current set of standards. The purpose of this study is to examine the actual conditions of usage, maintenance, and management among those traditional market facilities that were installed with the supports of the facility-modernization projects, especially for arcades. This will be carried out through investigating the local problems, issues, and considering international case studies. The results of this study will provide measures for effective and efficient installation and management of traditional market arcades. Improvements in the use of public resources could be directed towards transforming public business, as well as public enhancement and functional maintenance and reinforcement. Under this condition, the arcade is not a simple area to avoid rain or sunlight; it becomes a public space. It is highlighted that the arcade should establish its public business not only to activate markets but also to refine street environments and revitalize local communities. A more specific way to improve is introduced through systematic supplementation. This is needed to attract effective participation from local residents and is done so by conducting a fair procedure from the first stage of business and by providing guidelines for establishing arcades as public facilities. The study points out to the problem of merchants-centered plans and street use. It presents the need to expand to involve residents and customers. Given that the arcade is a public facility and merchants' ability to maintain it is limited, manuals and systems for its maintenance needs to be introduced through multi-party agreement of merchants, government, residents and customers.

• Journal of Intelligence and Information Systems
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• v.17 no.4
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• pp.279-292
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• 2011

Movie is a representative media that can transmit stories to audiences. Basically, a story is described by characters in the movie. Different from other simple videos, movies deploy narrative structures for explaining various conflicts or collaborations between characters. These narrative structures consist of 3 main acts, which are beginning, middle, and ending. The beginning act includes 1) introduction to main characters and backgrounds, and 2) conflicts implication and clues for incidents. The middle act describes the events developed by both inside and outside factors and the story dramatic tension heighten. Finally, in the end act, the events are developed are resolved, and the topic of story and message of writer are transmitted. When story information is extracted from movie, it is needed to consider that it has different weights by narrative structure. Namely, when some information is extracted, it has a different influence to story deployment depending on where it locates at the beginning, middle and end acts. The beginning act is the part that exposes to audiences for story set-up various information such as setting of characters and depiction of backgrounds. And thus, it is necessary to extract much kind information from the beginning act in order to abstract a movie or retrieve character information. Thereby, this paper proposes a novel method for extracting the beginning boundaries. It is the method that detects a boundary scene between the beginning act and middle using the accumulation graph of characters. The beginning act consists of the scenes that introduce important characters, imply the conflict relationship between them, and suggest clues to resolve troubles. First, a scene that the new important characters don't appear any more should be detected in order to extract a scene completed the introduction of them. The important characters mean the major and minor characters, which can be dealt as important characters since they lead story progression. Extra should be excluded in order to extract a scene completed the introduction of important characters in the accumulation graph of characters. Extra means the characters that appear only several scenes. Second, the inflection point is detected in the accumulation graph of characters. It is the point that the increasing line changes to horizontal line. Namely, when the slope of line keeps zero during long scenes, starting point of this line with zero slope becomes the inflection point. Inflection point will be detected in the accumulation graph of characters without extra. Third, several scenes are considered as additional story progression such as conflicts implication and clues suggestion. Actually, movie story can arrive at a scene located between beginning act and middle when additional several scenes are elapsed after the introduction of important characters. We will decide the ratio of additional scenes for total scenes by experiment in order to detect this scene. The ratio of additional scenes is gained as 7.67% by experiment. It is the story inflection point to change from beginning to middle act when this ratio is added to the inflection point of graph. Our proposed method consists of these three steps. We selected 10 movies for experiment and evaluation. These movies consisted of various genres. By measuring the accuracy of boundary detection experiment, we have shown that the proposed method is more efficient.

• Journal of Bio-Environment Control
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• v.24 no.4
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• pp.301-307
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• 2015

High quality transplants are critical for success in crop production. Increasing numbers of growers purchase their transplants from specialized transplant producers instead of growing their own transplants. A drawback of purchasing transplants is the risk of deterioration to transplants during transportation from transplant producers to the growers. This study evaluates the influence of temperature on the quality of grafted tomatoes transplants (Solanum lycopersicum cv. Super Doterang), in order to propose optimum temperature condition for the transportation of grafted tomato transplants. Grafted tomato transplants with visible flower trusses were exposed to different air temperature ($10^{\circ}C$, $25^{\circ}C$, or $40^{\circ}C$) for 2, 4, or 6 hours. After treatment, the NDVI (Normalized Difference Vegetation Index) values of tomato transplants treated at 25 and $40^{\circ}C$ were lower than that at $10^{\circ}C$. The root fresh weight was lowest at $40^{\circ}C$. After transplanting, the transplants that were exposed to the air temperature of $40^{\circ}C$ exhibited chlorosis and blight on lower leaves. The degree of damage on leaves was severer as the high temperature exposure time was longer. The temperature conditions during the transportation also influenced the growth, flowering and fruit set of tomatoes after transplanting. The fruit number and weight of first truss was lowest at $40^{\circ}C$ for 6 hours. Accordingly, it is recommended that the temperature during the transportation should be controlled and kept at the range from 10 to $25^{\circ}C$ even though the period is short (within as six hours) in order to maintain the quality of transplants.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.4
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• pp.61-72
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• 2014

Throughout analyzing and construing the words, contexts, and expressive languages used for depicting the pine tree in the novel "Honbul" written by Choi, Myung-Hee the symbolism of the pine and folksy languages used for scenery can be condensed as written below: First, it is explicit that the scenery-words for illustrating the pine tree in "Honbul" are emerged through diverse means methods and expressions. Namely, the reference forms of the pine tree and the expressive means of utilizing words portrays the use of the pine are various and subdivided. Second, the scenery-words found in vocabularies and the contexts of "Honbul" imply various symbolic representation. They not only perform to describe inherent image and symbolism of the pine, but they work for reifying the image of "Honbul" in the narrative structure in "Honbul" as being intrinsic scenery-word. Third, the scenery-words used for expressing aesthetics emerge as synesthetic expressions through the linear beauty and the texture of the pine as well as through five-senses. Forth, on the basis of the inherent symbolism and the image of the pine, the landscape of the background described in "Honbul" deems as a symbolic backdrop. As with then narrative structure of the novel, the pine tree performs as a mediation of the heaven and the earth, god and man, as well as the sacred and the secular. Fifth, scenery-words used for depicting the pine tree are a symbol that represents the spirit and emotion of the character in the novel. Moreover, it is a tool for pursuing the personification of the nature, the deification of the object, and the cosmos of the space. It is also utilized as a device that definitize the ideational image applied to express the landscape of the background of the novel. As mentioned above, the expressions, vocabularies and textures about pine tree represented from "Honbul" are expected to be the beginning of understanding the landscape-images and landscape-languages of pine in not only the setting for this novels, Namwon but also the entire districts of Korea.

• Journal of the Korea Organic Resources Recycling Association
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• v.13 no.4
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• pp.89-99
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• 2005

The golf courses more than about 200 are operating in Korea. From the golf courses, a great amount of turfgrass clippings tend to increase, steadily. Materials used in the experiment were Creeping Bentgrass(CB), Kentucky Bluegrass(KB), Korean Lawngrass(KL), rice bran and composted chicken drop. Treatments are CB, KB, and KL. The temperature during the composting of all treatments increased rapidly and reached at the highest temperature($57.9^{\circ}C$, $67.8^{\circ}C$, $74.3^{\circ}C$) within 20 days, and then stabilized to the range of $35.2{\sim}41.6^{\circ}C$ at the 30th day. The pH values of all treatments decreased on the first day. However, they were increased rapidly after three days and decreased again on 10~20 days. The pH values of all treatments at the final day were stabilized to the low alkali levels. The contents of total carbon during the period of composting tend to decrease and total nitrogen was increased for factor of reduction of volume. CEC value of all treatments during the period of composting tends to increase. The round paper chromatogram of extracted solution of KL sample was the sharpest and clearest among all treatments. The G.I. values of CB, KB, and KL in 30th day of composting were about 95.1, 77.7, and 98.7 in germination test using chinese cabbage, respectively. Conclusively, all turfgrass clippings used in this experiment were composted well, suitable as composting products standardized by KSC. The maturity of the final compost samples is best in KL, followed by CB and KB treatments. The turfgrass compost can contribute to the plant cultivation for environment-friendly farm, and the results of this study can become the basic data of turfgrass clippings compost. Further research on the mixing ratio of each material is required to produce compost of good quality.

• Cartoon and Animation Studies
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• s.41
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• pp.511-531
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• 2015

The underlying impetus of the birth of animated film is attraction about a moving image. And the animation image occurs from the process of performative relationship between an animator and apparatus. Therefore, analysing the method how the moving image is constructed will be the focal starting point to deal with an animated film as a text. In this context, that conveys the theme in more sensuous way will be examined in a dimension of the material, technique and image-making method. KIM Jin-man's is a Stop Motion Animated Film with Noodlescreen about a journey of a fish that wishes to go outside of the water. KIM created original and friendly images out of plain thin noodle which is a common ingredient in Korea, and dealt with the ontological introspection based of the concept of Nondualism. Nondualism based on the interconnected and cyclical eastern philosophy which is different from the western dualistic theory points to the idea that the universe and all its multiplicity are ultimately expressions or appearances of one essential reality. This paper focuses on KIM's recent work and sees how Nondualism is applied throughout the animated film by analysing the performative method of mediums, technique, and structure. First of all, the form of Noodlescreen will be reviewed in Chapter Two. Pinscreen Animation which was invented by Alexander Alexeieff and Claire Parker will be also compared with Noodlescreen in the aesthetic viewpoint here. In Chapter Three, it will be analysed how the description of the image of binary opposition itself provides expanded sense and rich metaphor. Lastly, the format of Mise-en-abyme going constantly towards outer space will be dealt how it exposes the cinematic illusion and spatiality in Chapter Four. Throughout the whole chapters, it will reviewed how the concept of Nondualism relates the images of and deactivate the boundary of binary opposition in terms of both the story development and the visualization method. By this methodology, it will be confirmed that image of animated film not only explains the narrative but also activates the perception about the theme and provides integrated sensory experiences in the independent and expanded dimension.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.3
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• pp.137-148
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• 2018

Li Yu's Xian Qing Ou Ji was written during the late Ming and early Qing Dynasty when material culture flourished due to the development of the commercial economy. Xian Qing Ou Ji is considered a retrospective work that reflects the rich material society at that time. This study focuses on his gardening theories through the interpretation and analysis of these two texts of 'Jushibu(居室部)' and 'Zhongzhibu(種植部)' in Xian Qing Ou Ji. The results are summarized as follows. First, he explained the method of garden configuration and orientation according to the topography utilizing the theory of 'suiting one's measures to local conditions(因地制宜)'. He emphasized the detailed understanding of topography as the starting point for all the gardening theories. It stated that he tried to adjust the height of the terrain artificially to create an ideal form of 'anterior high and posterior low(前低後高)'. The successful arrangement of houses, pavilions, rockery and waterways et al. was able to be achieved because of his accurate understanding of topography. Second, 'borrowing scenery(取景在借)' means 'borrowing the outside scenery to the inside'. He applied this theory by 'viewing in motion(動觀)' and 'viewing in repose(靜觀)'. 'Viewing in motion' is seen as a positive methodology for landscape enjoyment. For example, the view through a window changes with movements of the boat, and it can portray thousands of landscape paintings which can be seen through the windows. In the case of 'viewing in repose', the window is regarded as a means of attracting outside garden views to the inside. Third, he emphasized 'the firmness of objects(制體宜堅)', where the design of windows and railings must be considered ahead of others. Fourth, he interpreted the contents of 'the pursuit of novelty(創異標新)'. This generalizes the characteristics of his gardening theory. The contents included 'hall wall(廳壁)', 'variable sun visor(活?)', 'hanging boards and couplets(聯?)' and 'method of supporting vines with bamboo screen(竹屛扶植法)'.

• Cartoon and Animation Studies
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• s.36
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• pp.375-391
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• 2014

Animation movie is a non-photorealistic animated art that consists of formative language forming a frame based on a story and cuts describing frames that form the cuts. Therefore, in expressing an image, artistic expression methods and devices for a formative space are should be provided in a frame while cuts have the images between frames faithfully. Short animation movie is produced by various image experiments with unique image expressions rather than narration for expressing subjective discourse of a writer. Therefore, image style that forms unique images and various image directions are important factors. This study compared the experimental image directions of and , both of which showed a production method of film manipulation. First, while uses pixilation that produces images obtained from live images through painting and many optical disclosure process on a cell mat, was made with diverse collage techniques such as tearing, cutting, pasting, and folding hundreds of scenes from action movies. Second, expresses non-causal relationship of characters by their repetitive behaviors and circulatory image structure through a fixed camera angle, resisting typical scene transition. On the other hand, has an advancing structure that progresses antagonistic relationship of characters through diverse camera angles and scene transition of unique images. Third, in terms of editing, uses a long-take short cut technique in which the whole image consists of one short cut, though it seems to be many scenes with the appearance of various characters. On the other hand, maximizes visual fun and commitment by image reconstruction with hundreds of various short cuts. That is, both works have common features of an experimental work that shows expansion of animated image expressions through film manipulation that is different form general animation productions. On top of that, delivers routine life of diverse human beings without clear narration through image of conceptualized spaces. expresses it in a new image space through image reconstruction with collage technique and speedy progress, setting a binary opposition structure.

• Journal of Korean Classical Literature and Education
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• no.38
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• pp.175-200
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• 2018

From the point of view of the law and public morals in Yi-dynasty, it is possible to discover new meanings in the love of Chunhyang and Mongryong-Lee, the conflicts between Chunhyang and Hakdo-Byeon, and the rescue of Chunhyang by Mongryong-Lee as a secret royal inspector. First, although the love of Chunhyang and Mongryong-Lee was against the law and public morals of Yi-dynasty, the narrator did not call to account, but he described the love as a romantic and new one conflicting with the ruling system. And it was an unprecedented case that Chunhyang asked a written contract as a legal guarantee for marriage when Mongryong-Lee courted her. Second, Hakdo-Byeon, the Namwon county governor, accused Chunhyang, a female entertainer of the Namwon county, of disobedience to his oder and contempt of him, and interrogated her with torture when she denied his demand for bed service which was prohibited by law. Chunhyang refuted against him and regarded his demand for bed service as the rape of a married woman. In this process, narrator sharply contrasted Chunhyang's claim for human rights with Hakdo-Byeon's legal administration. Characters such as people of Namwon county and king did not call Mongryong-Lee to account for that he, as a secret royal inspector, allegedly used his power privately to rescue his sweetheart Chunhyang from Hakdo-Byeon's illegal oppression. These different judgements on legal administrations of Hakdo-Byeon and Mongryong-Lee came from the legal emotion of characters and reading publics of . Namely, people who sympathized with Chunhyang's claim for love and human rights had the legal emotion that Mongryong-Lee's administrative order suspending Hakdo-Byeon's govenor's status could be approved as an legal and exciting one. Therefore the love of Chunhyang and Mongryong-Lee implied a new legal emotion which based on the sympathy with Chunhyang's human rights consciousness, and regarded the positive law of Yi - dynasty as one behind times.