• The Journal of Korean Medical History
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• v.35 no.1
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• pp.45-57
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• 2022

This paper examines the positions and personnel of the Naeui system in the late Joseon Dynasty. First, the regulations of the Naeui system were investigated through the literature related to Naeuiwon. Next, the operation of the regulations, changes in the system, and causes were analyzed through the Seungjeongwon Diary (承政院日記). We discovered: 1) Naeuiwon's medical bureaucracy originally did not have a fixed number of positions, but gradually came into being with a quota regulation. Uiyagdongcham-ui (議藥同參醫) and Naechim-ui (內鍼醫) did not have a quota, but was initially set at 10 people, then expanded to 12 people. Originally, the royal physician had no fixed number, and in 1864 the first quota was 7 people. 2) 'Gyeom-eoui' and 'gachanaeui' served to expand Naeui's quota. After the mid-17th century, 'Gyeom-eoui' expanded the quota of royal physicians to secure a position for the medical bureaucracy of Naeuiwon. 'Gachanae' after King Jeongjo serves to add to the quota while obeying the provisions of the law. 3) The customary promotion of Naeuiwon's medical bureaucracy expanded and became stricter after the mid-19th century, during which special promotions became more frequent than in previous periods. As for the provision of appointment to the 6th class after 30 months, Uiyagdongcham-ui was established in 1686 and Naechim-ui was established in 1718, increasing the chance for customary promotion. In the case of Naeui, the regulation for the Secretary General to raise the degree of official rank has been strengthened since the Cheoljong era. However, special promotions were frequent in the mid-19th century because the number of high-ranking officers increased compared to the previous period. In conclusion, the Naeui system in the late Joseon Dynasty changed in the direction of strengthening their own privileges. The Naeuiwon's quota was increased and promotion was guaranteed through the system and customs. Since the mid-18th century, there have been some regulatory restrictions, but the framework has not changed. This is confirmed not only in the regulations of the documents related to the Naeuiwon, but also in the Seungjeongwon Diary. Naeuiwon's medical bureaucracy enjoyed superiority in promotion and status compared to other forms of technical bureaucracy.

• Journal of the Korean Society of Costume
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• v.50 no.3
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• pp.59-72
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• 2000

Dragon robe was defined as a robe on which the principal design consisted of dragon. Dragon patterns have been used on princess robes during T'and Dynasty. In Sung, Dragon-figured robes seem to have an Imperial prerogative. Yuan took over the use of robes with dragons patterns as a definite institition. Ming tried to reject all Yuan innovations, the dragon robe was retained as an unofficial court costume. The Emperor's semiformal robes which at first had four dragon medallions, later had twelve along with the 12 Symbols(십이장문). As Ch'ing dragon robes were only intended fro semiformal use. The Later Ch'ing robes date from after 1719, when the Ch'ien-lung(건륭) introduced 12 Symbols on Ch'ing robes. The Ch'ien-lung laws were disobeyed, notably the ones that specified the number of claws on the dragons. THe Emperor's dragon robe, lung-p'ao, (용포) was described as bright yellow in color, having four slits and horsefoof cuffs. The basic pattern consisted of nin dragons, in addition it had 12 Symbols. The elaborate textile techniques reached their peak in Ch'ing Dynasty-with its Weaving and Dyeing Office in Peking, and this factories at Hangchow(항주), Soochow(소주), and Naking(남경) -helps to explain why the decay of the Ch'ing bureaucracy hastended the decline of dragon robes. In the Ch'ing Dynasty tow terms were used for dragon robe, depending on the number of claws on the dragons. Those with five-clawed dragons were called lung-p'ao, while those with four-clawed dragons were called mang-p'ao(망포). The Court felt compelled to take corrective meausres. It decreeed that Ninisters of State and other officials, who had been bestowed five-clawed lung dragons, must take out one claw. Finally, the sale of ranks and the attendant privilege of wearing dragon robes gradually increased during the 18 th century, reaching its height in the 19 th century, Finally, after the Taiping Rebellion, when the Imperial Treasury was depleted by the wholesale destruction of revenue-producing lands, the Chinese government came to depend on such sales as an important source of revenue and the practice became even more widespread. The ensuing mass production of dragon robes, and the necessity of conforming to the fairly rigid basic pattern established in 1759, resulted in marked deterioration of workmanship, and a comparative monotony of decoration. The patterns on the dragon robes slight changes continued to be made in the ways of representign them. The li shui (입수) portion at the base of the robe become inreasingly wider throughout the 19th century. The background became cluttered with symbols of good fortune, scattered among the clouds and waves. As a result of all this extraneous decoration, the dragons were so crowded that they had to shrink back into the small size that they had originally occupied in the medallons. Kuang-hsu(광저) was a long one, allowing time for the manufacture of numerous robes. Also, it would seem likely that Occidental museums and collections would have a considerable number of his robes, in view of the widespread looting of his palaces during the Allied occupation of Peking in 1900, and the frequent sales of Late Ch'ing imperial textiles by destitute Manchu courtiers in the '20's.

• Journal of the Korean Society for Library and Information Science
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• v.32 no.1
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• pp.97-128
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• 1998

Recognizing the importance of reading, and with one motivation being to encourage an upright reading culture, 138 Wise Sayings related to reading by Western leaders were investigated and analyzed according to their country of origin and content as well as the nationalities and occupations, achievements and activities, and the periods of activity of he people who said them. In Wise Sayings related to reading, there are connotations of reading's significance$(30\%)$, methods$(44\%)$, Usefulness$(13\%)$, values$(12\%)$, joys$(1\%)$ and so on, and the expressions vary according to the speakers' occupations. Many of the speakers of wise sayings related to reading were from the powerful and culturally-developed countries of England(36), France(17) and the United states(15), and among 168 occupations, many were engaged in literature(97), philosophy(20), and politics(13) In the field of literature in particular, poets(24), writers(24), and novelists(19) comprised about $70\%$ of the total. In terms of the periods of activity, the 19th-20th century with $33\%$ and the 19th century with $27\%$ made up $60\%$ of the total.

• Research in Mathematical Education
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• v.1 no.1
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• pp.7-12
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• 1997

The curriculum differentiation is supposed to maximize individual strength and possibilities of the students, and to maximize educational efficiency by differentiating the instructions according to students' abilities, aptitudes, needs and interests. The Ministry of Education has suggested a stepwise model for school mathematics. This model is named "Stepwise Curriculum Differentiation"(段階別 敎育課程 差別化). In this paper, we would like to make a specific proposal for the 7th curriculum. Our proposal reflects fully the guidelines of the Ministry of Education. It is also based on the national curriculum history up to the present time. It could be used as a reference for the continuing work of curriculum reformation. We suggest dividing the contents of mathematics for 1-10th graders into about 15 steps, to use the step-based textbooks instead of the grade-based ones, and to prepare evaluation standards for each step. We also suggest that the classes for grades 11-12 be organized according to their optional courses and/or their steps.

• Journal of Korean Library and Information Science Society
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• v.30 no.3
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• pp.323-344
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• 1999

First, having noticed that the paper on which the Mugujongkyong from the Sokgat'ap was Broussonetia Kazinoki Siebold, produced under the Tochim process, it is confirmed that the paper used for printing the Mugujongkyong form the Sokgat'ap was Broussonetia Kazinoki Siebold produced in Shilla, by introducing the common fact that the papers on which : written in 755 A.D.) and in Soochung-sokt'ap Hwaomasa were written were the same paper fabricated by the Tochim process. Therefore it is proved that the printing place of the Mugujongkyong from the Sokgat'ap was also Kyongju region in Shilla. Furthermore it is proved that the year of storing Broussonetia kazinoki Siebold n which tarani of the Mugujongkyong was written was circa 705 A.D., provin12g that Broussonetia Kazinoki Siebold was in production in Shilla in 8th Century. Also by confirming the fact that very thin -- mere 0.019mm thick -- Broussonetia Kazinoki Siebold was in production in Shilla in 8th Century, it is proved that Shilla has ability to produce Broussonetia Kazinoki Siebold for Woodblock printing purpose. Second, concerning the Muju Characters written in the ugujongkyong from the Sokgat'ap, mixed use of the Muju Characters was noticeable in written in 755 A.D. from the Sooch'ungsokt'ap at the Hwaomsa written in the same era and the Tripitaka Koreana in Japan was printed in 690's A.D. because of appearance of the Muju Characters in the Saddhamapun-darika is erroneous.

• Journal of Fashion Business
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• v.12 no.2
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• pp.42-58
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• 2008

The purpose of this study is to examine actual design cases of decorative detail in the Art Nouveau style from the end of 19th century to the beginning of 20th century, and create designs and fashion works to meet our contemporary fashion trends by means of over-decorative style, a characteristic of decorative detail. The characteristics of decorative detail in the Art Nouveau style can be outlined as follows: First, pleats appear with two major feels of solidity, undulated and curvilinear solidity based on gather(ruffle, frill/ flare and flounce) and regular and linear solidity based on linear pleats or tucks. Second, embroidery appears in various patterns developed with stitch of solid feel as well as a variety of coloration effects. Third, attachments are expressed by means of independent motif(applique, gloss effects(beads, sequins), affluent texture and mobility(fur, feather). Moreover, according to technical characteristics and expressive aspects of pleats, embroidery and attachments, it is found that decoration detail in the era of Art Nouveau is over-decoration style. Indeed, it appears in major expressive aspects such as rhythmical solid type, detailed prominence type, superficial touch type and profound volume type.

• Journal of Fashion Business
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• v.3 no.4
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• pp.19-30
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• 1999

The purpose of this thesis is to overview the periodical changes of the fastenings, from the pins and buttons in ancient age to the velcro in these days, and to study the relationships of these various fastenings to the costume types, and also to research how it is applied to the latest fashion. The fastening is closely related to the costume types, being various in its form, like pins, fibula, brooches, buttons, lacing, points, hooks & eyes, press studs, zipper and velcro. It is clear from the fact that the fastenings have developed remarkably since 13th century when the costume became tightly fitting to the body, while the fastenings had been very simple, like buttons or fibula, for so long time from the ancient time to the 12th century. The end of fastening's development is to be fitting to the body and to make it easy to take on or off the costumes by use of it. In '99 S/S, '99-00 A/W $pr{\hat{e}t}-{\grave{a}}$-porter collections, ornamental fastening was more emphasized then practical one, probably due to the development of more stretchable fabric.

• Journal of the East Asian Society of Dietary Life
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• v.18 no.5
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• pp.711-724
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• 2008

Guk has been a very important part of the Korean table service for a long time. To study the historical transition of traditional Guk, an analysis of old cookbooks from the Chosun dynasty ($15{\sim}19C$) was conducted based on cooking science. The following is the results of 52 types of Malgunguk from representative old cookbooks such as Sangayorok (1450), Suunjabbang (early 1500s), Eumshikdimibang (1670), Jeungbosallimgyungje (1766), Gyuhabchongsu (1815), Juchan (mid 1800s), Sieuijunsu(late 1800s). The ingredients for Malgunguk contain 30, 35, and 12 types of animal foods, plant foods, and seasonings, respectively. Fish and two to three meats are combined for the main ingredients of Guk, to harmonize the taste. Notably, deer and birds such as pheasants along with parts of beef (short ribs, marrow, Holdaegi) were used. Moreover, it is interesting to note that meat such as pork and chicken were favored to beef, which is contrary to preferences of today. There are only a few Malgunguks that have been passed down before the 16th century those after the 17th century have mostly been reported, but the ingredients have been simplified.

• Korean Institute of Interior Design Journal
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• v.18 no.6
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• pp.12-19
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• 2009

The characteristics of light in the paintings of Rembrandt van Rijn, Johaness Vermeer and Edward Hopper are very different. While Rembrandt and Vermeer lived in the 17th century, Hopper lived in the 20th century. Although this time gap, comparative study on their light-space relationship is important because there are spatial similarities as well as light differences. Most three painters' works depict interior spaces with one person inside. The interior space is filled with different light and shadow. In the Rembrandt's paintings, only part of the figure is lit in the ambiguous darkness. In the Vermeer's paintings, the soft indirect light is filled in the domestic space and the boundary between the figure and space is blurred. In the Hopper's paintings, the direct sunlight invades the interior and the figure confronts with strong daylight. These light differences were caused by the artists' intentions as well as the environmental situations. 4 case paintings of each artist were analyzed by phenomenological aspects and computerized light brightness test. Scale models were built to re-construct the three different light characteristics. The model experimentation will have potential to develop 2 dimensional art analysis into 3 dimensional space design by means of light. However it was very difficult to construct the three lights, the experimentation shows they have unique characteristics that can be applied to spatial design studies.

• Parasites, Hosts and Diseases
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• v.49 no.3
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• pp.323-326
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• 2011

While the presence of pinworm eggs in archaeological samples has been reported by many researchers in the New World, those have been detected very scarcely in the Old World, especially in East Asian countries. In fact, many parasite species were recovered from the archeological remains in Korea, eggs of Enterobius vermicularis had not been found. Recently, a female mummy buried in the 17th century was discovered in the Joseon tomb from Dangjin-gun, Chungcheongnam-do, Korea. After rehydration process for 12 days, investigations were carried on the luminal surface of the colon. From them, 3 eggs of E. vermicularis were recovered. They were elliptical, transparent with a thin egg shell, $50.3{\pm}5.2\;{\mu}m$ (length) and $28.2{\pm}3.9\;{\mu}m$ (width) in size. This is the first discovery of E. vermicularis eggs in East Asia.