• Journal of the Korean Society of Fisheries and Ocean Technology
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• v.27 no.2
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• pp.132-140
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• 1991

The aim of this study was saving of chromium and nickel content in the austenitic stainless steels, SUS 316 and SUS 321. By control of primary solidification mode, new austenitic stainless steels with good weldability, high toughness and corrosion resistance could be developed. The main results obtained were as follows; 1. Hot crack resistance of laboratory melts was good and higher than imported austenitic stainless steel. 2. Cryogenic and room temperature toughness of laboratory melts were high and laboratory melts M-7 to M-9 showed very high toughness than SUS321 imported stainless steel. 3. Intergranular corrosion resistance of laboratory melts was higher than imported stainless steels, SUS316 and SUS321. 4. By this concept of controlling primary solidification mode, could save expensive alloy additives, chromium and nickel.

• Journal of Digital Convergence
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• v.18 no.7
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• pp.389-395
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• 2020

Female empowerment advertising campaigns are easily observed in the United States and European countries whereas it is rarely found in Korea. Thus, this study is designed to analyze female empowerment advertising campaigns so-called femvertising through a case analysis method. The case analysis is often employed in the field of advertising and other social sciences, especially is helpful in finding current trends. Study results found that themes of global femvertising campaigns could be categorized into 'redefining women's beauty', 'gender equality', 'education', and 'leadership'. The objective of these femvertising campaigns is to change perspectives of the society on women and change men's perspective. In terms of product category by global femvertising campaign companies, it varies from consumer goods, IT & electronics, automotive, finance, toy, non-profit organization to press. In general, femvertising targets women, but some femvertising campaigns also target men. This study also provides implications in regards with media usage strategy and advertising planning strategy.

• Asia-Pacific Journal of Business Venturing and Entrepreneurship
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• v.14 no.3
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• pp.111-127
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• 2019

The "fourth industrial revolution" is changing society as a whole. Public innovation is needed to enhance national competitiveness. Amid these times' demands, the "maker movement," a new form of DIY movement that has revived since 2000, is regarded as a "popular innovation activity" that can respond to changing needs. In particular, "Makerspace," a significant activity area for the maker's movement, is drawing attention as a place where "Maker" shares each other's knowledge and resources, and share results. Makerspace has recently expanded its functions into a 'public innovation platform' or (preparation) start-up preparation space for start-ups. South Korea has also supported various types of "Makerspace" since 2010 as a policy for fostering an innovation base. The Ministry of Small and Medium Venture Business has been pushing for expansion of Makerspace since 2018 and is providing support by dividing it into "general rap" and "professional wrap" and "zero to Maker" spaces for novice makers in the beginning and necessary stages of makers, while "professional rap" is divided into "Maker to Maker" spaces for professionals. This study is about Makerspace, space where makers are active among the topics related to manufacturers. Thus, in this study, significant domestic and international studies related to Makerspace have been investigated so far, and trends in related studies have analyzed. Based on this, the research needs and specifics of Makerspace, which has recently expanded its role and functions. In particular, the Commission intends to present the need for research on Makerspace and specific areas of study from a start-up management perspective to promote qualitative growth of Makerspace, which is changing into a popular innovation platform in the era of the fourth industry, and inducing a start-up management interest in new manufacturing industry types.

• Journal of Korean Library and Information Science Society
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• v.49 no.4
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• pp.373-404
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• 2018

The purpose of this study is to investigate the overall situation related to the engravings included in Buddhist scriptures produced in the Goryeo Dynasty. at the wooden board in Hae-in Temple(海印寺)'s ${\ll}$Hwa-eomgyeong(華嚴經)${\gg}$ are Ju-bon(周本) 80sheets(5sheets duplicates), Jin-bon(晉本) 12sheets, and ${\ll}$Ye-sugyeong(豫修經)${\gg}$ 44sheets, and There is a print of ${\ll}$cheon-tae-eun-sa-han-san-seub-deug-si-jib(天台隱士寒山拾得詩集)${\gg}$ at Songgwang Temple(松廣寺). Also ${\ll}$Uhjebijangjeon(御製秘藏詮)${\gg}$ included in the Koryo period Chojo Tripitaka is the Emperor $T{\grave{a}}iz{\bar{o}}ng$ of $S{\grave{o}}ng$ Poetry collection owned by Japan's Nanzanji(南禪寺). In each book from volume 1-20(volume17 is not there), there were 5 sheets of engravings and most of them are located in the same locations (1,5,9,13,17). And than 50 engravings that are contained in volume 1-10 are used repetitively in volume 11-20. In Volume 21 that corresponds to appendix, 3 engravings. This has a big value in that this is a Booljeondo(佛傳圖) of the fastest period that was made in Korea. In Chapter 3, we looked at the publications of the Goryeo Dynasty by century. We have confirmed that among 19 types of the 12 kinds of printed materials.

• (The)Study of the Eastern Classic
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• no.73
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• pp.361-384
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• 2018

This paper aims to introduce Park Seon-su's ShuowenJiezi YIzheng from the perspective of Epigraphy, and incorporate it into the fields of Korean Epigraphy. Korean Epigraphy, which now categorized as a study since Kim Jeong-hee's powerful work in 19th century, can be listed either by studies published before and after Kim Jeong-hee's and by name of influential writers who have successfully presented each study and strive for the development of Korean Epigraphy. Earlier studies show that Korean Epigraphy has more books of data collection rather than the books of research on the epigraph. Regardless of the nationality of the author, all books containing Korean epigraph were counted as Korean Epigraphy, and those books made for religious reasons were not excluded from Korean Epigraphy as well. This indicates how wide the scope of Korean Epigraphy is. In this The reason Park Seon-su's research is ignored at present time, which was assessed as excellent in the late Chosun Dynasty, may come from lack of understanding on the ShuowenJiezi YIzheng. His book, ShuowenJiezi YIzheng, focuses on graphology but more broadly it includes translation of Epigraph and Epigraphy which leads to interpretation of scriptures. Such Park- Seonsu's great work must be presented in Korean Epigraphy studies to broaden its scope, also it is important to look for yet unfound pieces on the fields of Epigraphy.

• Cartoon and Animation Studies
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• s.35
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• pp.29-65
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• 2014

Visual culture art education (VCAE) seems to be the new paradigm for art education after postmodernism. Getting beyond the traditional art education, VCAE has expanded its scope of interest to include the visual environment that surrounds our life, thus pushing the boundary of art education beyond the traditional fine arts to cover pop culture and visual art. VCAE shares the issues as well as a lot of elements of culture and art education and in fact serves as a major theoretic background for culture and art education, in that it pays attention to the sociocultural context of images and emphasizes visual literacy and constructionist learning. In this paper, I have reviewed the theoretical background and related issues of VCAE with a view to presenting a direction for animation education, which is gaining in importance coming into the Age of Digital Media. VCAE was born in the progressive cultural atmosphere from the 1970s and thereafter, and its gist consists in figuring out visual artifacts and their action in order to improve individual and social life. Yet, VCAE continues with its development according to the changing aspects of visual culture, and currently, it is expanding its scope of interest to cover the esthetic, experiential education in visual culture and construction of meaning through digital story-telling. In the visual environment of the Digital Age, animation is establishing itself as the center of the visual culture, being a form that goes beyond an art genre or technology to realize images throughout the visual culture. Also, VCAE, which has so far emphasized visual communication and critical reading of culture, would need to reflect the new aspects of the visual culture in digital animation across the entire gamut from experiencing to understanding and appreciating art education. In this paper, I emphasize on Cross-Curricula, social reconstruction, the expansion of animation education, interests in animation as a digital media, and animation literacy. A study of animation education from the perspective of VCAE will not only provide a theoretical basis for establishing animation education, but also enrich the content of VCAE, traditionally focused on critical text reading, and promote its contemporary and futuristic orientation.

• Archives of design research
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• v.16 no.2
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• pp.179-188
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• 2003

We can discover some facts that vernacular design products with a property of volunteer culture coexist with ready-made products as an useful objects in the post-industrial society. Currently, few attempts had been made at studies of the vernacular design objects with understanding cultural context in post-industrial society, it is necessary to illuminate the relationships between the user with a role of design producer and the product viewed in culturally. In chapter 2, by examining documentary, t have been understood the definition, apprehensions, attributes linking creative use's culture with vernacular design culture, and distinctions between vernacular design and main stream design system. In chapter 3, by verifying products of everyday street and construction site, have been investigated the public characters and the differences compared with the past. In chapter 4, as a subtle example, have been analyzed design feathers and cultural characters of the products which children and infants culture generates by reflecting the socio-economic backgrounds and the culture from 60c and 70c to now according to the phases of the times. In conclusion, first, it seems quite probably that all of artificial objects exist a state of ready-made but that is not appropriate to correspond with user's whole behaviors. supplementally, it causes the phenomenon of vernacular design products. Secondly, it is reasonable to suppose that such main-stream design system and vernacular design go forward continually and crossly with coexistent relationships as high culture and sub culture. Third, three concepts: long-life design, ecology design and recycling revealed in vernacular design are useful distinguishing marks for the future design directions, moreover instant-response, fast and flexible process, three distinctions have a possibility of alternative process which can overcome the control-based process such as the systematic approach and the planning MTG in present. Finally, in children and infants culture, vernacular design products have changed the pure style products in the past into the modified techno playing products in the present. These should De a substitute product that supplyes variousness to ready-made design system and a design culture that maintains continually as a independent culture.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.4
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• pp.44-55
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• 2012

This study is to interpret how landscape aesthetic characteristics of moderation, which is the point of human-oriented neo-confucianism vision, are projected to the landscape organization of a Dodong-SeoWon, known for its overflow to neo-confucianism grounds and standards among domestic SeoWon. The aspects of neo-confucianism discussion in the shape of Dodong-SeoWon with the beauty of from and contents dominating the landscape of Dodong-SeoWon different from constructive completeness as 7 external and internal landscape organization including placement, circulation, setting, vista, fencing, naming, and decoration are as follows. The left direction of Dodong-SeoWon, part of external organization, is the result of landscape organization that emphasized the stage of moderation through the unification of man and nature by naturalizing natural direction to human-oriented directions. Important aspects to rule external orders and standards of Dodong-SeoWon are principles of one classes based on ranks and bilateral symmetry that is the unity of setting and circulation landscape organization from penetrating the spirit of moderation with no bias. By securing territoriality by fencing the unity of verticality and horizontality, the landscape organization to reach moderation is expressed. Meanwhile, Suwoloo(水月樓) perceived on the floor of central assembly hall, the formation of time frame from roof piles of Hwanjumun(喚主門) as well as pilars of Jungjeongdang(中正堂), and rime link method inducing visual balance and openness through segment, combination, and others are vista organization that show the ideality of unique neo-confucianism building. Also as part of landscape organization contents. semantically, building name including arrangement from Taegukdoseol, ideological naming following the name of Ssanggye-SeoWon, which is the former body, the name of the hall symbolizing the transfer of neo-confucianism enlightenment, impartiality with no bias, as well as Geoinjae(居仁齋) and Geoijae(居義齋) based on olympic, are also results of applying neo-confucianism standards. Additionally. the SeoHoe(瑞花) expressing the change of IleumIlyang(一陰一陽) on the stylobate of Jungjeongdang, Saeho(細虎) which goes up and down, as well as Simul made of four dragons, are artistic expression of the moderation that symbolizes the harmony of ying and yang with no exceeding or insufficiency. Humorous and unique rocks and stones evenly arranged in all spots of Dodong-SeoWon are to promote anti-strict organization by offsetting the image and external order of the lecture hall as strict as it is, and this is very ironic as it is the other landscape organization in different dimension as well as the expression of moderation.

• Cartoon and Animation Studies
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• s.28
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• pp.27-53
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• 2012

American superhero comics are being produced in numerous different forms for multiple, and cross-platform media. In cinema, films based on superhero comics top the list of all time box office records. The same phenomenon of the 'Invasion of Superhero' is duplicated in Korean box office 2012, however, the korean fans are not familiar with the superheroes from the publication which provides the original source of characters and stories for other superhero related media products. Based on observing the multiple and vastness of world building characteristics of superhero comic, this paper attempts to associate the continuous creative nature and the infinite repetition of superheroes and comic texts with the identity of superhero on ontological level. First, chapter 2 examines how one superhero exists in multiple and different worlds individually by utilizing the concept of 'multi-universe' or 'multiverse' in comic texts. Initially, duplicating a superhero on multiple settings and series destroyed continuity and allowed contradiction and paradox confused narrative as a whole, but it also gave chances for comics to be more vibrant and experimental with their stories and characters. Chapter 3 analyzes the superhero comic texts in the light of repetition, concept developed by french philosopher Gilles Deleuze, and make the argument that the superheroes and texts are not repeated to generate surplus of source for economic utilitarian purposes, but it is, first and foremost, a repetition of creativeness and capability. Many concepts introduced by Deleuze in his early masterpiece, $\acute{e}$rence et R$\acute{e}$p$\acute{e}$tition> are taken to support this argument. Mainly, his critical views on generality of the identity and his effort to replace the Plato's system of representation with vibrant creative, and renewal energy of r$\acute{e}$p$\acute{e}$tition. According to Deleuze, repetition is similar concept, if not identical, to what Nietzsche called the 'eternal return' which allows the return of the Overhuman or the Superhuman, and he extends his idea that the returning Overhuman is the singular simulacre which opposes the generalization of identity, in the likes of Plato's Idea. Thus, the superhero's identity is ever changing, ever returning, and ever renewing Overhuman. The superhero must be repeated to fully actualize his/her existence. Also, based on Deleuze's reading of Bergson's texts on the Virtual, the superhero, for example Superman, is actualization of his/her multiplisit$\acute{e}$, the internally multiple, and differentiated variations from itself. These every Supermans' multiplisit$\acute{e}$ shares common memory, past, and duration, thus the Virtual of Superman. Superman becomes himself only by actualizing the movement and differentiation from these multiplisit$\acute{e}$ in his virtual on the surface of reality. On chapter 4, a popular Korean comic book character Oh, Hae-Sung's r$\acute{e}$p$\acute{e}$tition and multiplist$\acute{e}$ are analyzed, and makes comparison to that of Superman to distinguish the repetition from r$\acute{e}$p$\acute{e}$tition, and multiplicit$\acute{e}$ from diversity.

• 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.