• Korean Journal of Heritage: History & Science
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• v.43 no.3
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• pp.208-241
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• 2010

This study was conducted to examine the chronology of Taesil Seokham(Taesil Stone Boxes) stored in Taesil of the Joseon Palace and classify the styles to discuss how these boxes have developed. By doing so, this study defined the archaeological styles of taesil seokhams in the chronological order. Although taesil seokhams are placed when taesil are first created, they do not have any texts engraved on them and it is difficult to gain information only from examining taesil seokham. However, Taejiseok(memorial stones buried in Taesil) and Agibi(gravestones buried in Taesil) were created along with taesil. These resources were examined and compared with literature records to find when each taesil seokhams was created. The critical elements to consider for the chronological arrangement were both the cover and container of the boxes and the transition of their style could be classified into four major stages. In detail, the Joseon Dynasty's taesil seokhams initially inherited the style of the Goryeo Dynasty to be formed into rectangular boxes. Through the transition of the mid and late 15th Century, the semi-circular cover with cylindrical container became the popular style in the late 15th Century. In the late 16th Century, the style of the previous period was further developed to add some decorative elements, such as projecting ornaments, but the ornaments were added for functional purposes rather than artistic purposes. However, the style went back to the semi-circular cover with cylindrical container in the early 17th Century. From the mid 17th Century, various styles appeared with ornaments only on the cover, cone-shaped cover with no ornament, or mortar-like container. However, a new style of cone-shaped cover with ornament emerged between the early and mid 18th Century and continued to stay until the mid 18th Century. In the mid 18th Century, the cover remained unchanged, but the container became a keyhole-shaped space with one side forming a "ㄷ" shape. However, in the late 18th Century, the most typical style of the semi-circular cover with cylindrical container reappeared to show that this is the most universal style. Last, in the mid 19th Century, the cover changed from semi-circular to rectangular with flat top. After this, the taesil seokhams began to disappear. In terms of style, it can be classified into four stages. In the early Joseon Dynasty, the taesil seokhams were underdeveloped and inherited the style of the Goryeo Dynasty (Stage I; 1401~mid-15C), but Joseon's unique style began to develop from the late 15th Century (Stage II; 1477~1641). After that, partial ornaments were added for adornment (Stage III; 1660~1754), but the typical style reappeared in the late 18th Century to finally degrade in the late Joseon Dynasty of the mid 19th Century (Stage IV; 1790~1874). This arrangement of style and chronology would greatly help archaeologists anticipate the time and owner of taesil seokhams even if only taesil seokhams are discovered without any records. * Tae(胎) : Placenta and umbilical cord * Taesil(胎室) : A facility(chamber) of burying Tae(胎) in rite when royal descendants are born.

• Korean Journal of Heritage: History & Science
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• v.46 no.2
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• pp.4-25
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• 2013

Goli-su is the innovative special kind of the embroidery technique, which combines twining and interlacing skill with metal technology and makes the loops woven to each other with a strand. The loops floating on the space of the ground look like floating veins of sculpture and give people the feeling of the openwork. This kind of characteristic has some similarities with the lacework craft of Western Europe in texture and technique style, but it has its own features different from that of Western Europe. It mainly represents the splendid gloss with metallic materials in the Embroidered cloth, such as gold foil or wire. In the 10th century, early days of Goryo, we can see the basic Goli-su structure form of its initial period in the boy motif embroidery purse unearthed from the first level of Octagonal Nine-storied Pagoda of Woljeong-sa. In the Middle period of Joseon, there are several pieces of Goli-su embroidered relic called "Battle Flag of Goryo", which was taken by the Japanese in 1592 and is now in the Japanese temple. This piece is now converted into altar-table covers. In 18~19th century, two pairs of embroidered pillows in Joseon palace were kept intact, whose time and source are very accurate. The frame of the pillows was embroidered with Goli-su veins, and some gold foil papers were inserted into the inside. The triangle motif with silk was embroidered on the pillow. The stitch in the Needle-Looped embroidery is divided into three kinds according to comprehensive classification: 1. Goli-su ; 2. Goli-Kamgi-su ; 3. Goli-Saegim-su. From the 10th century newly establishing stage to the 13th century, Goli-su has appeared variational stitches and employed 2~3 dimensional color schemes gradually. According to the research of this thesis, we can still see this stitch in the embroidery pillow, which proves that Goli-suwas still kept in Korea in the 19th century. And in terms of the research achievement of this thesis, Archetype technology of Goli-su was restored. Han Sang-soo, Important Intangible Cultural Heritage No. 80 and Master of Embroidery already recreated the Korean relics of Goli-su in Joseon Dynasty. The Needle-Looped embriodery is the overall technological result of ancestral outstanding Metal craft, Twining and Interlacing craft, and Embroidery art. We should inherit, create, and seek the new direction in modern multi-dimensional and international industry societyon the basis of these research results. We can inherit the long history of embroidering, weaving, fiber processing, and expand the applications of other craft industries, and develop new advanced additional values of new dress material, fashion technology, ornament craft and artistic design. Thus, other crafts assist each other and broaden the expressive field to pursue more diversified formative beauty and beautify our life abundantly together.

• The Journal of Korean Philosophical History
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• no.42
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• pp.133-164
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• 2014

In "Lu's Spring and Autumn", the ideas of all the schools before Qin Dynasty were compiled and the diagram of the Trinity of heaven, earth and man using the category of Yin-yang and the five elements of the universe since the ancient times was established. This can be assessed to be the blueprint for a unified empire closely connecting time and space, and objects in heaven and on earth centered around human beings. In specific, Yin-yang and the five elements of the universe were combined to categorize and schematize all things in the universe, and connect them to human affairs at the same time. Its contents convert almost all academic fields including politics, economics, society, military, astronomy, geography, medical science, education and history. Particularly, the documents popular during the age of civil wars and the ideas of Jikha scholars were synthesized and specified. Yet, it went beyond simple collection of the thoughts and documents since the ancient times in terms of contents and forms, and the method of 12 months for 1 year was selected and prescript was expanded to the various fields of politics and the society. In the Twelve principle, Yin-yang and the five elements, and the ten celestial stems and the earthly ones were combined, the contradiction from the process was solved, and the Rules of Four Seasons Thought was completed. Therefore, even though some parts of the idea of Yin-yang and the five elements in "Lu's Spring and Autumn" is found here and there from other documents, the unificative systematization of the whole has an important meaning in the history of thought. In summary, it has been proved that the Rules of Four Seasons Thought in "Lu's Spring and Autumn" was not limited to the physical unity of Yin-yang and the five elements of the universe, but qualitatively specified particularly in the aspects of agriculture from the people's side and politics from a leader's position.

• Journal of Intelligence and Information Systems
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• v.27 no.4
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• pp.49-71
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• 2021

Users who intend to utilize knowledge to actively solve given problems proceed their jobs with cross- and sequential exploration of associated knowledge related each other in terms of certain criteria, such as content relevance. A knowledge map is the diagram or taxonomy overviewing status of currently managed knowledge in a knowledge-base, and supports users' knowledge exploration based on certain relationships between knowledge. A knowledge map, therefore, must be expressed in a networked form by linking related knowledge based on certain types of relationships, and should be implemented by deploying proper technologies or tools specialized in defining and inferring them. To meet this end, this study suggests a methodology for developing the knowledge graph-based knowledge map using the Graph DB known to exhibit proper functionality in expressing and inferring relationships between entities and their relationships stored in a knowledge-base. Procedures of the proposed methodology are modeling graph data, creating nodes, properties, relationships, and composing knowledge networks by combining identified links between knowledge. Among various Graph DBs, the Neo4j is used in this study for its high credibility and applicability through wide and various application cases. To examine the validity of the proposed methodology, a knowledge graph-based knowledge map is implemented deploying the Graph DB, and a performance comparison test is performed, by applying previous research's data to check whether this study's knowledge map can yield the same level of performance as the previous one did. Previous research's case is concerned with building a process-based knowledge map using the ontology technology, which identifies links between related knowledge based on the sequences of tasks producing or being activated by knowledge. In other words, since a task not only is activated by knowledge as an input but also produces knowledge as an output, input and output knowledge are linked as a flow by the task. Also since a business process is composed of affiliated tasks to fulfill the purpose of the process, the knowledge networks within a business process can be concluded by the sequences of the tasks composing the process. Therefore, using the Neo4j, considered process, task, and knowledge as well as the relationships among them are defined as nodes and relationships so that knowledge links can be identified based on the sequences of tasks. The resultant knowledge network by aggregating identified knowledge links is the knowledge map equipping functionality as a knowledge graph, and therefore its performance needs to be tested whether it meets the level of previous research's validation results. The performance test examines two aspects, the correctness of knowledge links and the possibility of inferring new types of knowledge: the former is examined using 7 questions, and the latter is checked by extracting two new-typed knowledge. As a result, the knowledge map constructed through the proposed methodology has showed the same level of performance as the previous one, and processed knowledge definition as well as knowledge relationship inference in a more efficient manner. Furthermore, comparing to the previous research's ontology-based approach, this study's Graph DB-based approach has also showed more beneficial functionality in intensively managing only the knowledge of interest, dynamically defining knowledge and relationships by reflecting various meanings from situations to purposes, agilely inferring knowledge and relationships through Cypher-based query, and easily creating a new relationship by aggregating existing ones, etc. This study's artifacts can be applied to implement the user-friendly function of knowledge exploration reflecting user's cognitive process toward associated knowledge, and can further underpin the development of an intelligent knowledge-base expanding autonomously through the discovery of new knowledge and their relationships by inference. This study, moreover than these, has an instant effect on implementing the networked knowledge map essential to satisfying contemporary users eagerly excavating the way to find proper knowledge to use.

• Journal of Nutrition and Health
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• v.56 no.4
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• pp.419-438
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• 2023

Purpose: This study examines the effectiveness of personalized goal setting and smartphone-based nutrition counseling among adults in their 20s and 30s. Methods: Nutrition counseling was conducted for a total of 30 adults through a 1:1 chat room of a mobile instant messenger, once a week for 8 weeks. The first week of counseling included a preliminary online questionnaire survey and a dietary intake survey. Based on the results of the preliminary survey, 2 dietary goals were set in the second week and the participants were asked to record their achievements on a daily checklist. From the third week onwards, counselors sent feedback messages based on the checklist and provided information on dietary guidelines in a card news format every week. Post-counseling questionnaires and dietary intake surveys were conducted in the seventh week. Changes in dietary habits during the counseling were reviewed in the eighth week, followed by a questionnaire survey on the evaluation of the counseling process. Results: The nutrition quotient (NQ) scores and self-efficacy scores were significantly higher after nutrition counseling. The NQ scores of consumption frequencies of fruits, milk and dairy products, nuts, fast food, Ramyeon, sweet and greasy baked products, sugarsweetened beverages, the number of vegetable dishes at meals, and breakfast frequency were significantly higher after nutrition counseling. The intake of protein, vitamin A, thiamin, riboflavin, folate, calcium, and iron, and the index of nutritional quality of vitamin A, riboflavin, folate, calcium, and iron were higher after nutrition education. The participants were satisfied with the nutrition counseling program and the provided nutrition information. Conclusion: Personalized goal setting and smartphone-based nutrition counseling were found to be effective in improving the quality of diet and self-efficacy in young adults. Similar results were obtained in both the underweight/normal weight and the overweight/obese groups.

• (The) Research of the performance art and culture
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• no.39
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• pp.325-355
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• 2019

On June 12, 1791, the old bachelor Kim Hee-jip and the old lady Shin Deok-bin's Daughter get married. The wedding ceremony is a state-led so-called 'virgin virgin bachelor's marriage project'. At that time, the king ordered the recorder to record the case, which is called . The private sector also made it into a work, which is the Chinese drama written by LeeOk(李鈺). was created with the purpose of praising the king, and it inserted entertainment elements into it, so it had a frame of plays, but it did not have a performance in mind from the beginning. LeeOk uses different styles in each of the four acts. He tried to soothe his boredom by setting tales and proverbs in Acts 1 and 2, Pansori in Act 3, and drama in Act 4. In 1918, BaekDooYong(白斗鏞) published DongSangGiChan[東床記纂], which is combines drama and Yadam . In previous studies, these two were perceived as different works, but the two rooms were closely linked: the link was 'someone recognize me[知 己]'. He understood the table of contents made by Lee as 'JaeHyun(才賢)', 'deokhye(德慧)', 'Kwontaek(眷澤)', 'Bokyeon(福 緣)' respectively, and recorded the version of the yadam that fits it in . From acts 1 to 4, Baek contained his desire in it by constructing 'someone recognizes me → I recognize someone → do good things[積善] → blessings[餘慶]'. This is why we can't comprehend and as completely different works.

• Journal of The Korean Association For Science Education
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• v.28 no.1
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• pp.1-14
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• 2008

The image of science is one of the recurrent topics in science education research. In particular, we believe that students' images of Doing-Science-Well could be used for identifying not only students' perceived goals of science learning, but also practical guidelines of effective science teaching. In this study, the students' images of Doing-Science-Well were investigated with the following two research questions: (i) what are student's images of Doing-Science-Well?; (ii) in what contexts do students perceive that someone is doing science well? Thirty seven students in a high school in Seoul, Korea were asked to write their personal experiences by which they realized that someone was doing science well. The main results of the study are the following: Firstly, the images of Doing-Science-Well could be categorized into 'Einstein type', 'Socrates type', 'MacGyver type' and six more types. Secondly, with regard to contexts, students tended to realize that somebody is doing science well in terms of two kinds of contexts: 4 physical contexts and 6 psychological contexts. The findings led us to develop a frame of judging Doing-Science-Well, which combines the types and two kinds of contexts. The frame illustrates the multiplicity of the images of Doing-Science-Well.

• Korean Journal of Heritage: History & Science
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• v.44 no.3
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• pp.178-199
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• 2011

The ancient tombs found in Bokcheon-dong, Busan originate from the time between the $4^{th}$ and $5^{th}$ centuries, the period of the Three Nations. They are known as the tombs where the Vertical Plate Armour was mainly buried. In 2006, two units of the Vertical Plate Armour were additionally investigated in the tombs No.164 and No.165 which had been constructed at the end of the eastern slope near the hill of the group of ancient tombs in Bokcheon-dong. Throughout this study, the contents of the two units of the Vertical Plate Armour, whose preservation process has been completed, have been arranged, while the group of constructed ancient tombs in Bokcheon-dong from the $4^{th}$ century has been observed through the consideration of the burial pattern. The units of the Vertical Plate Armour from the tombs No.164 and No.165 can be classified as the IIa-typed armor showing the Gyeongju and Ulsan patterns, according to the attribute of the manufacturing technology. Also, they can be chronologically recorded as those from the early period of Stage II among the three stages regarding the chronological recording of the Vertical Plate Armour. While more than two units of the Vertical Plate Armour were buried in the largesized tomb on the top of the hill of the group of ancient tombs, one unit of the Vertical Plate Armour was buried in the small-sized tomb. By considering such a trend, it can be said that in the stage of burying the armor showing the Gyeongju and Ulsan patterns (I-type and IIa-type), different units of the Vertical Plate Armour were buried according to the size of the tomb. However, as the armor showing the Busan pattern (IIb-type) was settled, only one unit was buried. Meanwhile, the tombs No.164 and No.165 can be included in the wooden chamber tomb showing the Gyeongju pattern, which is a slender rectangular wooden chamber tomb with the aspect ratio of more than 1:3. However, according to the trend shown by the buried earthenware, it can be said that there seem to be common types and patterns shared with the earthenware which has been found in the area of Gimhae and is called the one showing the Geumgwan Gaya pattern. In other words, there seem to be close relationships between the subject tombs and the tomb No.3 in Gujeong-dong and the tomb No.55 in Sara-ri, Gyeongju, regarding the types of armor and tombs and the arrangement of buried artifacts. However, the buried earthenware shows a relationship with the areas of Busan and Gimhae. By considering the combined trend of the Gyeongju and Gimhae elements found in one tomb, it is possible to assume that the group of constructed ancient tombs in Bokcheon-dong used to be actively related with both areas. It has been thought that the Vertical Plate Armour used to be the exclusive property of the upper hierarchy until now, since it was buried in the large-sized tomb located on the top of the hill of the group of ancient tombs in Bokcheondong. However, as shown in case of the tombs No.164 and No.165, it has been verified that the Vertical Plate Armour was also buried in the small-sized tomb in terms of such factors as locations, sizes, the amount of buried artifacts and the qualitative aspect. Therefore, it is impossible to discuss the hierarchical characteristic of the tomb just based on the buried units of the Vertical Plate Armour. Also, it is difficult to assume that armor used to symbolize the domination of the military forces. The hierarchical characteristic of the group of constructed ancient tombs in Bokcheon-dong from the $4^{th}$ century can be verified according to the location and size of each tomb. As are sult, the re seem to be some differences regarding the buried units of the vertical plate armour. However, it would be necessary to carry out amore multilateral examination in order to find out whether the burial of the vertical plate armour could be regarded as the artifact which symbolizes the status or class of the deceased.

• Korean Journal of Heritage: History & Science
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• v.49 no.2
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• pp.4-19
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• 2016

Jangkei(狀啓) made to the Royal Court by Yi Sun-sin during the Japanese invasions of Korea is handed down under the names of Jangcho(狀草), Keicho(啓草), Keibon(啓本) and others depending on copying patterns of those times and later times as it was copied out by a third person. In particular, "YimjinJangcho(壬辰狀草)" which Yi drew up during his service as the director of the naval forces in Jeolla Jwasooyeong is known as the most popular Jangkei. "ChungMinKongKeicho" which has been re-located recently after loss is a national treasure level cultural property as valuable as "YimjinJangcho" and should be treated as a model of Yi Sun-sin's other Jangkeis by next generations. As of now, however it is not confirmed if it is a totally new book related to Yi Sun-sin or is supplementary to the lost Jangkei, this study decided to ascertain relevant information through a bibliographic discussion on the question. "Chungmin(忠愍)" was the title that was used after the death of Yi Sun-sin, and "ChungMinKongKeicho" was completed when Jangkei was copied in 1662. 12 books that would not be found in YimjinJangcho are included in the book and such books are also present in the Jangkei supplement which has been known lost so far. What should be especially focused on here is that the forms and contents of these (11) photographs that Japanese shot from "ChungMinKongKeicho" in 1928 turned out to be completely identical to those of the original copy. The point that Korean History Compilation Committee added the 12 books to Jangkei as referring to the book as "One Keicho(啓草) partially copied(抄寫) in separation" and that Cho Sung-do categorized the 12 books into a supplement and others can be solid proofs to make the Jangkei supplement called "ChungMinKongKeicho". In terms of "ChungMooKongKeicho", since it consists of 62 books in total, it is not reasonable to see the book as Jangkei supplement which has the extra 12 more books for itself. "ChungMooKongKeibon" in "ChungMooKongYusa" was written with a total of 16 books. In the body, Yidumun is only clearly present, and the three books in the later part are same with the original copy of "ChungMooKongKeicho". "YimjinJangcho" by Korean History Compilation Committee has been the only book in which Yidumun was observed so far but now, it is assumed that the publication date of "ChungMooKongKeibon" goes before that of the former. The counterargument to the opinion that "ChungMinKongKeicho" is the supplement to Jangkei is based on Lee Eun-sang's comment "One page of a log in the Jangkei copy supplement." At first Seol Ui-sik introduced a piece photo of the rough draft of "MoosulIlki" in a drawing form through "Nanjung Ilkicho by Yi Sun-sin" in 1953. Lee Eun-sang also added two pages of the handwritten Yilkicho in the Jangkeichobon supplement to "MoosulIlki" and for the second time, the phrase "One page of a log written during the last 10 days after the Jangkei copy supplement" and "Supplement" were used. Those views are originated from the comment "One photograph of the rough draft of "MoosulIlki"" which Seol Ui-sik introduced without knowledge of the exact source. Lee Eun-sang said, "One page of a log in the Jangkei copy supplement" because Lee mistook "ChungMooKongYusa" for a book related to Jangkei. Since it is the wrong argument different from the actual situation of the original copy, if it has to be corrected, it should be rephrased "One page of a log in ChungMooKongYusa." After all, the source of the counterargument is the mistake because there has never been the Jangkei supplement with one page of a log included. All the Jangkeis other than "YimjinJangcho" can be said as the Jangkei supplements but still, they are separated from the other Jangkeis for the extra 12 more books are present in the commonly-called Jangkei supplement. Due to that reason, the argument on how "ChungMinKongKeicho" with the 12 books added is the popular Jangkei supplement should be considered more reasonable.

• (The) Research of the performance art and culture
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• no.35
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• pp.61-92
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• 2017

During the Japanese colonial era, traditional music performances were gradually diminishing and weakening in the particular condition of colonization. Meanwhile, from the time of enlightenment, Western genre performances were becoming vitalized with the influence of Western civilization that began to be spread steadily throughout the society. In that situation, traditional music performances tended to be mixed performances accompanied by Western ones, not independent performances. Mostly, they were accompanied by Western music, and also, they were performed along with other genres like plays, lectures, movies, dances, or magic, too. Such form of mixed performances accompanied by Western genres became even more vitalized in the 1920's and came to be positioned as a form of traditional music performances. Therefore, research on the forms of mixed performances between Western genres and traditional music is meaningful in examining the forms of traditional music performances that have not been studied in the history of Korean modern music and understanding the trends of traditional music performances which were generally found in the Japanese colonial era. However, such research has hardly been conducted concretely yet. Accordingly, concerning the forms of mixed performances between Western genres and traditional music in the 1920's, this author considered the background of vitalizing mixed performances between Western genres and traditional music mainly with newspaper articles of the time and their formal characteristics. Regarding the background of vitalizing the forms of mixed performances between Western genres and traditional music, from the 1920's, the forms of mixed performances between Western genres and traditional music became more vitalized than before. The causes of that may include the increase of groups hosting or sponsoring such performances from the 1920's and also the dramatic increase of such performances in general. Moreover, the increased performances were conducted in the forms of mixed performances mainly in order to satisfy the people's needs becoming diversified with the distribution of Western civilization. Concerning the formal characteristics of mixed performances between Western genres and traditional music, this researcher classified western genres performed with traditional music and examined what characteristics were found in such mixed performances of tradition music by the types of Western genres respectively. First, in the mixed performances type of western-type genre and traditional music, the number of programs for the western music had significant portion in general, and there were certain ensemble of the western music and traditional musical instrument that was rare at this period of time, and it also had the characteristics of classifying two genres to perform for each title or date. Second, in the mixed performances type of the drama and traditional music, the traditional music is directly participated in the drama with the similar type to the theater, or performed independently from the drama with the role of interlude performance for the stage conversion of the drama to have the characteristics of performing in audience publicity or entertainment. Third, in the mixed performances type of the lecture and traditional music, the traditional music is played before or after the lecture to play the role to set the atmosphere and entertainment for the lecture as displaying the feature to perform for the audience attraction. And, fourth, in the mixed performances type of the movie and traditional music, the traditional music sometimes directly participated in the movie or had the features of independent performance, and there was a characteristic to perform for the entertainment after showing a movie.