• Journal of the Korean Geographical Society
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• v.28 no.4
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• pp.379-391
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• 1993

Present-day world economy is characterized by : technology nationalism, economic regionalism, market protectionism, multinational corporations, efc. All nations are striving for intensifying national economic rivalry and seeking after their own interests above everything else. Many regions of the world are also forming trading blocs, which could negatively affect nonmember states. The ultimate way to meet these difficulties is to establish production facilities in the countries imposing trade regulations. However, as the existing models of direct forrign investment (DFI) do not account for the particular nature of Korean firm's DFI activities, a new point of departure is imperative. It is because of this that Korean firms have only limited firm-specific advantages, the basic precondition of extant DFI theories, compared with their developed counterparts.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.4
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• pp.1-21
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• 2013

This study has researched the characteristics and elements of the chuibyong, a sort of trellis in the Joseon Dynasty through the old pictorial data. The results were as follows; First, as a result of the analysis for the 25 pictorial data in the Joseon Dynasty, the chuibyongs have usually functioned as screening the facility to protect the private life and dividing the spaces of the site, but it was internally regarded as the props which symbolized the dignity and elegance of high class. Especially, not only the faunas such as crane and deer, and the floras such as Pinus densiflora, Musa basjoo, bamboo species and Paulownia coreana, but also various garden elements including oddly shaped stone, pond and pavilion were shown in the surrounding area of the chuibyong, and they were considered as a series of combination that was needed in the ideal garden for the literati. Secondly, the chuibyong was recognized as the ideological object which was typical of the literati culture in the story derived from an ancient event of China. Such image has been reflected intactly in the garden culture, and the chuibyong has been used(considered) as the important scenery of the season to imitate and reenact the Chinese Classical Garden in the narrative painting. Thirdly, in terms of the shape and function, the chuibyong in the paintings in the Joseon Dynasty basically had the function of the shielding and spatial division. Fourthly, the height of the chuibyung was similar to the one of fence which exceeds the person's height or Youngbyek(影壁) which is installed in the front and the rear of the main gate in China, and the various shape's chuibyung was properly set up in many spaces. Lastly, the making of the chuibyong in Joseon Dynasty was related to the trend of the writer's culture which was popular nationally in Ming dynasty rather than the particular functions or the location conditions. Especially, the symbol expression of the chuibyong showed on 'Elegant Gathering in the Western Garden' which was brought from China was recreated in the mansion of the upper class in Hanyang city as the center, and the primary mode for the expression of the wealth and writer's spirit through the chuibyong was transformed into the high-quality's garden element which could be created in the royal palace or the mansion of the upper class. Also, the use of the chuibyung was changed by spreading into the residential style for common people after the mid-nineteenth century, and it means that the chuibyung was developed into Korean styles.

• (The)Study of the Eastern Classic
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• no.59
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• pp.405-428
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• 2015

Painting theorists in Song dynasty often spoke 'Li' when they talked about paintings. But 'Li' of the song dynasty is not limited to the 'ethics'. First, it includes visible 'natural's truth', such as the differences of 'geography' and 'physics' between the depicted objects. Second, it also includes 'common sense' which was based on both the observation and the thinking. The theorists thought if the 'common sense' was improper in the painting, the whole work was invalid. Thirdly, it also includes 'the reasonable sense in special situation', which requires great imagination ability and elaborative faculty. For example, when playing wind instruments and stringed instruments in the same time at the same concert, the painter should accurately draw the different gestures of musicians according to that the wind instrument is 'sound when the finger lift' and the stringed instrument is 'sound after the finger have left' in that moment. Fourthly, it includes 'art reason', theorists call it as 'ShenLi' or 'MiaoLi'. 'ShenLi' or 'MiaoLi' require the creator to join the spiritual concept besides his observation and thinking. For example, 'banana in snow' is neither observed available nor thought of available, but is the result of spiritual concept of creators for seeking everlasting. And at last, it certainly includes 'the principle of ethics'. Painters often highlighted the ethical relations of the feudal nation and the value of individual gentleman through the allegory story of figure painting and even the sudden composition in the landscape painting. 'Geography', 'physical', and 'common sense' are required the meticulous observation and the rational thinking for the painted object. And 'the reasonable sense in special situation', 'the art reason', 'the principle of ethics' are required enhancing painting style in the painting artistic conception and realm of life based on the nuanced observation, making 'technology' into the 'Tao'. This is the six reasonable increasing requirements for the painting work. Therefore, 'seeking the final reason' is the fundamental spirit of painting theory of Song Dynasty.

• The Journal of Korean Academy of Prosthodontics
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• v.57 no.4
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• pp.342-349
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• 2019

Purpose: The purpose of this study was to retrospectively investigate the survival and success rate of implant-supported fixed prosthesis according to the materials in the posterior area. Other purposes were to observe the complications and evaluate the factors affecting failure. Materials and methods: Patients who had been restored implant prosthesis in the posterior area by the same prosthodontist in the department of prosthodontics, dental hospital, Chonbuk National University, in the period from January 2011 to June 2018 were selected for the study. The patient's sex, age, material, location, type of prosthesis and complications were examined using medical records. The KaplanMeier method was used to analyze the survival and success rate. The Log-rank test was conducted to compare the differences between the groups. Cox proportional hazards model was used to assess the association between potential risk factors and success rate. Results: A total of 364 implants were observed in 245 patients, with an average follow-up of 17.1 months. A total of 5 implant prostheses failed and were removed, and the 3 and 5 year cumulative survival rate of all implant prostheses were 97.5 and 91.0, respectively. The 3 and 5 year cumulative success rate of all implant prostheses were 61.1% and 32.9%, respectively. Material, sex, age, location and type of prosthesis did not affect success rate (P>.05). Complications occurred in the order of proximal contact loss (53 cases), retention loss (17 cases), peri-implant mucositis (12 cases), infraocclusion (4 cases) and so on. Conclusion: Considering a high cumulative survival rate of implant-supported fixed prostheses, regardless of the materials, implant restored in posterior area can be considered as a reliable treatment to tooth replacement. However, regular inspections and, if necessary, repairs and adjustments are very important because of the frequent occurrence of complications.

• Korean Journal of Ecology and Environment
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• v.52 no.2
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• pp.118-125
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• 2019

Swimming performance of fish is an important factor in the survival of fish. Also, swimming performance of fish is used in the form of habitat, or as a condition to consider when creating a fish ladder. However in Korea, researches in swimming performance of Korean freshwater fish were scarce and inadequate in some part, thus fish ladders were installed without considering their swimming performance. Therefore, in this study, we measured swimming performance of 4 Korean freshwater fish species to consider importance of swimming performance test. The fish used in this study were Carassius auratus, Zacco koreanus, Gnathopogon strigatus, Acheilognathus lanceolata intermedia species which was collected during October to November, 2018 at Geum River, and measurement for swimming speed of each fish was done by using $Loligo^{(R)}$ System, swim tunnel respirometer in January to February of 2019. The average value of the burst critical swimming speed ($U_{crit}$) for each species was $0.8{\pm}0.04m\;s^{-1}$ for C. auratus, $0.77{\pm}0.04m\;s^{-1}$ for Z. koreanus, $0.95{\pm}0.04m\;s^{-1}$ for G. strigatus, $0.73{\pm}0.03m\;s^{-1}$ for A. lanceolata intermedia and the average value of prolonged critical swimming speed was $0.54m\;s^{-1}$ for C. auratus, $0.67m\;s^{-1}$ for Z. koreanus, $0.7m\;s^{-1}$ for G. strigatus, $0.54m\;s^{-1}$ for A. lanceolata intermedia. Since the fish used in this experiment were collected from a small part of the water system in Korea and there were only 4 species, they were not enough to represent the species that inhabit the entire Korean water system. It will be necessary to continue evaluating the swimming performance of other freshwater species in Korea.

• Journal of the Korean Crystal Growth and Crystal Technology
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• v.29 no.3
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• pp.115-122
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• 2019

Electric arc furnace dust (EAFD), which is a dust waste generated in the steel manufacturing process, contains heavy metals. Recently, researches of recycling a large amount of valuable metals such as zinc and iron in EAFD are being actively carried out. In this study, EAFD is used as a substitute for cobalt in blue ceramic pigments without any pretreatment. Then, the synthesized blue ceramic pigment using EAFD was micronized and formulated as a ceramic ink for inkjet printer. The particle size distribution, crystal structure and color characteristics during the micronization process were investigated for the development of ceramic ink. $Co_{0.75}Zn(EAFD)_{0.25}Al_2O_4$ ceramic pigments showed excellent blue coloric properties and monomodal distribution through micronization process. The average particle size of $Co_{0.75}Zn(EAFD)_{0.25}Al_2O_4$ ceramic pigments after 3 hours of milling was $0.271{\mu}m$, which is smaller than $0.303{\mu}m$, which is the average particle size of $CoAl_2O_4$ ceramic pigments without EAFD after 5 hours of milling. Especially, it was confirmed that $Co_{0.75}Zn(EAFD)_{0.25}Al_2O_4$ ceramic pigments showed a color difference (${\Delta}E{^*}_{ab}$) value of 5.67, which smaller than ${\Delta}E{^*}_{ab}$ value of $CoAl_2O_4$ during micronization. These results show that EAFD can be used as a raw material for a blue ceramic pigment by replacing expensive cobalt without any pretreatment.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.3
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• pp.61-77
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• 2011

This study focused on relevant rock names related to Sinsun(神仙) which had been settled as Taoist traces were combined with places. While interpreting major features of Sundoism relevant rocks, it also discussed types and places of rocks reflected in their names by considering distinct characteristics of landscape characters that ancestors viewed through the rocks or on the rocks. Conclusion of this study is summarized as follows. 1. Among the rock names related to Sinsun, the most frequently discovered one was Sinsunbawi(52) and followed by Sinsunbong(神仙峰: 38), Sinsundae(神仙臺: 31). Other than these, there were Gangsundae(降仙臺: 12), Sunyoodae (仙遊臺: 10) and Sasundae(四仙臺: 5). 2. In the name of Sinsundae, 'Dae(臺)' ascertains that it was located in greatly superb place in the aspects of viewpoint and appreciation where landscape superiority and overlook scenery were fair and outstanding. 3. Sinsunbong was named for a peak of mountain. At the same time, it implied a notion of worship with images of 'merging with sky' or 'looking up.' Most of time, Sinsunbong indicated the tallest rock in the mountain chain. 4. A significant number of Sinsunbong had names where legends of Sinsun's Go game or descent were originated from. It shows that 'Sinsun(仙) and Go game' used to be very important motives for folk etymology of Sinsun related rocks. Along with the Sinsundae, a number of Sinsunbawi were also turned out to exist in land and ocean with excellent marine view. 5. According to analysis of their altitudes and heights of the peaks where the rocks belong to, Sinsunbong, Sinsundae and Sinsunbawi were in order. It might indicate that the rocks were located on top of mountain or that Sinsunbong represented the mountain itself. Compared to this, Sinsundae was located in where distant panoramic views were overlooked. It was not necessarily to be in peak but in where with a great view like Taoist world. On the other hand, Sinsunbawi was located in where has fine scenery and great valley not so far from villages, which proved its name had been influenced by place feature not altitude. 6. Feature of rock with Sinsun related name is to comprise visual stability of worship object with close linkage to attitude of worshiper. Considering its deep connection with communicative method of worship object and worshiper, seemingly it was main factor to lead folk etymology of rocks with Sinsun related names. 7. Rock is an object with the greatest implication of Sinsun imagination and Sinsun rocks show most clearly the fact that Taoism, which used to be considered as inaccessible, had been actualized in a visual and realistic manner with the change of time.

• The Journal of Korean Philosophical History
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• no.32
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• pp.309-336
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• 2011

There were various linking points that connect Li xue(Neo-Confucianism) to aesthetics in Song Dynasty as following. 1. The traditional moral as "pursuing pleasure of Kong-zi and Yan Hui" 2. Esteem of "life and vitality". Scholars of Li xue in Song regarded the pleasure of acting up to "benevolence" as a beauty, and this benevolence originated in the "heaven and earth; the universe". "Benevolence", that is to say, is name of the nature that continuous reproduction breed in an endless succession by "Yin-Yang the universe", thus the natural "life and vitality" of the "heaven and earth" as the matter of course is the perfect beauty. 3. An idea of "serene contemplation". Originally the "serene contemplation" belongs to discipline of "Li xue", however simultaneously this conception was entirely applicable to aesthetic point of view. 4. Cosmological consciousness. In the same manner, the "pleasure" which is moralistic and moreover aesthetic is indivisible from cosmic contemplation itself. Because of this point, the art and aesthetics of Song Dynasty self-consciously had the cosmological consciousness in its fullness. 5. Respect of beauty of nature. Scholars of "Li xue" considered as : no matter what "Li" or "Qi" that producing all things is "coming of itself", that is by no means artificially operated or prearranged in advance. Such standpoint was applied to creative art and made art of Song Dynasty esteem beauty of nature (coming of itself) exceedingly. 6. Laying stress on "disposition". Scholars of "Li xue" ordinarily valued much of "disposition of a sage", consequently this tendency influenced on aesthetics. "disposition" indicates the whole impression that one who has appearance and the inside(personality, temper, thought, etc.) gives to others. By putting that impression into practice of art and literature, it is to materialize the works of art as a unity of form and subject, also as an expression of human existence that breathed into one's sensibility on the whole. 7. Principles of "completing inquiry", "study the laws of nature by close access" of "Li xue". These principles made art and literature of Song Dynasty take a serious view of "Li" of all over the universe, so made them close investigate things, and after all have achieved very remarkable characteristic in art and literature, especially in paintings of Song Dynasty. Theory of painting in Song Dynasty had occupied considerably high position in Chinese aesthetic history. It was positively superior to former generations no matter what in quantity or in theoretical minuteness and its systematic level. Undoubtedly the Chinese theory of painting had been achieving development time after time since Song Dynasty. However if we could make a comparison it with every single period (ex. Yuan, Ming, and Qing Dynasties), there is no prominent period than Song Dynasty in theory of paintings. Song period had number of essays of Landscape painting.

• (The)Study of the Eastern Classic
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• no.50
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• pp.89-120
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• 2013

The concept of virtue seems to be one of the rare cases where the European and the Chinese traditions coincide. The meaning of the Latin word virtus and of Greek $aret{\acute{e}}$ seems to be similar to the Chinese $d{\acute{e}}$德. Most striking in virtue is that it is a capacity for self-realisation through action which is unique to man. On the other hand, there is something physical about it. It is the strength to do something. This strength overcomes the resistance of what is naturally given, it transforms the world, turns the natural world into a human one. In the Chinese tradition, $d{\acute{e}}$ 德, i.e. virtue, is therefore always connected with $da{\grave{o}}$ 道, the totality of natural forces. In the Chinese tradition, as opposed to the European one, virtue is itself considered to be a natural force that is present in man. This force sustains man's connectedness, unity and harmony with the surrounding world. Things exist through the unity of principle理 and ether氣. But the knowledge of this unity is due to principle. Moral and legal norms are shifted totally to the sphere of principle. Therefore their have found the final dissolution from a heroic models. Above all the classical Confucians, but also the other schools, would reply to this that there is nothing more precise than a concrete successful action. Its result fits the world perfectly. The difference is due to the differing interest of ethical thought. In the case of the Confucians the path is more direct. The actor establishes a precise pattern for other actions. Education therefore lies in detailed knowledge about forms of behaviour, not so much in conceptual differentiation. It is quite possible that generalisation may be a methodical prerequisite for success in this endeavour. That problem, too, is discussed. But the success of conceptualisation lies in the successful performance of individual actions, not in shaping actions in accordance with normative concepts.

• Korean Journal of Environmental Biology
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• v.38 no.4
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• pp.634-649
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• 2020

Recently, stream longitudinal connectivity has been a topic of investigation due to the frequent disconnections and the impact of aquatic ecosystems caused by the construction of small and medium-sized weirs and various artificial structures (fishways) directly influencing the stream ecosystem health. In this study, the international and domestic research trends of the longitudinal connectivity in aquatic ecosystems were evaluated and the applicability of fish-based longitudinal connectivity models used in developed countries was analyzed. For these purposes, we analyzed the current status of research on longitudinal connectivity and structural problems, fish monitoring methodology, monitoring approaches, longitudinal disconnectivity of fish movement, and biodiversity. In addition, we analyzed the current status and some technical limitations of physical habitat suitability evaluation, ecology-based water flow, eco-hydrological modeling for fish habitat connectivity, and the s/w program development for agent-based model. Numerous references, data, and various reports were examined to identify worldwide longitudinal stream connectivity evaluation models in European and non-European countries. The international approaches to longitudinal connectivity evaluations were categorized into five phases including 1) an approach integrating fish community and artificial structure surveys (two types input variables), 2) field monitoring approaches, 3) a stream geomorphological approach, 4) an artificial structure-based DB analytical approach, and 5) other approaches. the overall evaluation of survey methodologies and applicability for longitudinal stream connectivity suggested that the ICE model (Information sur la Continuite Ecologique) and the ICF model (Index de Connectivitat Fluvial), widely used in European countries, were appropriate for the application of longitudinal connectivity evaluations in Korean streams.