• 복식
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• 제59권1호
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• pp.29-46
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• 2009

Aiming at finding symbolistic meanings and characteristics of makeup in Chinese Beijing Opera("BO"), this study formulated a theoretical framework mainly from literature in the Symbolism and symbolistically analyzed materials related to BO makeup from literature, internet web pages and illustrated news concerning performing arts. Main objects to analyze are the characteristics of four main roles in BO and the patterns, symbols, ornaments and traditions of Beijing Opera facial makeup("BOFM"). Four main roles are Sheng, Tan, Ching and Chou, categorized by gender, age, social position and personality. The result to analyze symbolistic meanings and characteristics of makeups for the roles in BO are as follows: the patterns and colors of BOFM function as explanations to help audiences understand each role's personality and dramatic situations as well as provide hints about the development and ending of an opera: that is, BO makeup is a communicative intermediary between audiences and actors in BO. It tends to follow the stereotypes, which conventionally dress and exaggerate the characters of roles, and copy the traditional Chinese perception about colors. Thus, by the metaphysical and typical expression of BOFM, Chinese people have not been pursuing the realism in opera but applying BO makeup to a mutual communication method between audiences and performing artists as to share their collective cultural heritages and spirits. Threfore, BO makeup has been an interacting language between the two entities and grown within the history of BO as a beauty art to highlight a BO by its unique systems, ornaments and beauty.

• 대한한의학원전학회지
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• 제26권4호
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• pp.341-354
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• 2013

Objective : The main idea of this article is to investigate the shamanistic medical activities through the traditional Chinese classics in the Zhou Dynasty. The ancient shaman played a bridge role between human beings and supernatural things like ghosts. Even though he didn't have the super power, the ancients believed that he could take care of all kinds of illness. Therefore, it can be said that the medicine of the Zhou Dynasty was still under the shamanism although it had already started to be specialized and professionalized. Method : This article is going to look into the detailed aspects of the shamanistic medical activities, for example, divination of illness, Zhuyou(祝由), shamanistic preventive medicine, and so on, through the traditional Chinese classics of Zhou Dynasty. Result : The medical knowledge of that time stayed in the early stage, so it was simple and raw. Also it had scientific and unscientific characters in itself at the same time. That's why it could be included in the shamanism. And about the shamanistic medical activities seen on underground written attestations, they will be offered through another article of mine, entitled A Research of Shamanistic Medical Activities on Underground Written Attestations in the Zhou Dynasty(兩周出土文獻所見之醫療巫術考察), which is being written now. Conclusion : From beginning of the Eastern Zhou period, the medicine gradually got to be specialized. And then specialized medical treatments and shamanistic medical activities began to be divided as the different two occupations. However, it is an unchangeable truth that the ancient shaman played an important role in the Chinese traditional medicine. Therefore, it can be said that he was in the very special position in the Chinese traditional medicine.

• 복식
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• 제55권8호
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• pp.48-56
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• 2005

Foreign culture, introduced by cultural exchange, was modified and accepted into a new form and value system. Culture speaks for the characters of the period, so it is presented by the mutual actions of many factors affecting culture. Religion is the essence of human life and the source of ideas about life, the universe and existence, so they become hidden inside of the structure of culture. Dancing costumes present the process of cultural modification and acceptance more vividly than general costumes. This research shows that, among foreign cultures, it is Buddhism that most influenced Chinese dancing costume. Taoism was the Chinese native religion that played an oppositional role against Buddhism. Taoism was hidden in Chinese dancing costume in every age. Chinese dancing costume changed many times due to the import of exotic styles such as Buddhism that partially replaced the Taoistic tradition. Therefore, it is confirmed that the process of cultural importation of exotic style was different according to the social, historical, and cultural backgrounds of China during the period from the Han to the Sui and Tang dynasties.

• 복식
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• 제59권8호
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• pp.82-96
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• 2009

The purpose of this study is to present the basic approach of producing the luxury fashion brands containing of the Korean traditional traits on the basis of traditional transformation with the modern concept, taking the 'Vivienne Tam' 2000's collections. This study has focused on its transformation of the traditional one of China, and made this as the subject of investigation. It's design characteristic could be defined as "modern interpretations of China chic", and it would be divided into two groups. The ingenious mixture of Chinese tradition into the modern chic could be concluded like these. The external characteristics is categorized in the three ways (1) the aesthetic application of the Chinese traditional patterns(dragon, water waves, peony, Japanese apricot flower, bamboo, bats, Chinese characters etc.), (2)the modern application of Chinese traditional costume details(front opening of Chipao, mandarin collar and knot buttons) and (3)the modernization of Chinese traditional technique(knotting, embroidery, beading and paper cutting). To deal with the internal characteristics, (1)the aesthetic mixture of East and West, (2)the formative expressions of the traditional view on the universe and religion are remarkable. The Chinese embodiment and the view of the universe and religion was integrated into the patterns of dragon, water waves, clouds, fire, woods, and metals. In order to afford the creative designer capable of encompassing the East and West, the teaching about the Korean tradition along with the technical and practical aspect of fashion is most important, while encouraging the professional designer to make a sophisticated ones which are attributed to the Korean tradition, and thereby come to be attractive to the world customer. The study about the Korean costumes, traditional colors, the symbolic meaning of the traditional patterns, cuttings, compositions, extending to the various kinds of myths, songs, paintings and crafts are essential for the Korean designer brand to be the global luxury brands.

• International Journal of Industrial Entomology and Biomaterials
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• 제13권2호
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• pp.85-95
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• 2006

Seveval Chinese and Japanese varieties with good characters were used in the breeding. After 5 years (15 generations), a pair of robust and high quality silkworm variety with NPV resistance was bred by means of a combination of crossing and pedigree selection complemented by the selection of NPV resistance. The variety was identified jointly nationwide in 2003 and 2004, and appraised by National Mulberry and Silkworm Appraising Committee. Results are as follows: its cocooning rate is over 93%, shell rate 23-25%, filament length 1200-1300 meters, reelability 75-88%, Length of non-broken cocoon filament 900-1100 meters, raw silk rate 17-19%, neatness 95-97 points, and cocoon crop, cocoon shell weight and raw silk weight per 10000 larvae is higher than those of the control variety by 7-10%, 14-19% and 14-18%, respectively. The variety is not only robust, resistant to high temperature and NPV, easy to rear, uniform in hatching, molting and maturing, but also lays more eggs, and its fecundity is high. It is suitable to rear in the Yangtze River Basin, the Yellow River basin and the Pearl River basin of China.

• KSII Transactions on Internet and Information Systems (TIIS)
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• 제10권11호
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• pp.5583-5604
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• 2016

In this paper, we present a novel image operator to extract textual information in natural scene images. First, a powerful refiner called the Stroke Color Extension, which extends the widely used Stroke Width Transform by incorporating color information of strokes, is proposed to achieve significantly enhanced performance on intra-character connection and non-character removal. Second, a character classifier is trained by using gradient features. The classifier not only eliminates non-character components but also remains a large number of characters. Third, an effective extractor called the Character Color Transform combines color information of characters and geometry features. It is used to extract potential characters which are not correctly extracted in previous steps. Fourth, a Convolutional Neural Network model is used to verify text candidates, improving the performance of text detection. The proposed technique is tested on two public datasets, i.e., ICDAR2011 dataset and ICDAR2013 dataset. The experimental results show that our approach achieves state-of-the-art performance.

• 한국정보통신학회:학술대회논문집
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• 한국정보통신학회 2019년도 춘계학술대회
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• pp.232-235
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• 2019

일본풍의 중국 모에화 게임들이 최근 수년 간 한국 모바일 게임 시장에서 성공을 거두고 있다. 소녀 전선 등에서 시작된 이런 움직임은 2018년 벽람항로로 이어졌다. 함선 의인화 게임인 벽람항로 등은 여성 캐릭터의 선정적인 일러스트가 특징이며 소녀 전선 등의 과도한 노출과 선정성은 등급 재분류 제재를 받기도 했다. 벽람항로는 상당수의 청소년 남성 사용자층을 갖고 있어 여성 캐릭터의 과도한 선정성은 유해하다고 볼 수 있다. 본 논문은 벽람항로 게임에 나타난 300여 종의 여성 캐릭터 스킨을 분석하여 여기에 나타난 섹시즘이 단순히 특정 부위의 노출 뿐 아니라 캐릭터의 소속 국가별로 의상이 정형화 되어 있음을 밝힌다. 즉, 중국과 일본은 기모노나 치파오 같은 전통 의상이 중심이고 영국은 제복과 메이드복의 비중이 상당하고, 독일은 제복을 주로 착용하게 함으로써 해당 국가 여성의 성적 오브젝트화와 고정관념을 조성할 수 있다. 또 이런 기본 스킨이 수영복으로 유료 전환되면 상당한 노출이 이루어져 선정성을 특히 강조한다는 점에서 19금 게임이라 해도 이런 과도한 섹시즘은 여성에 대한 부정적 성 대상화 우려가 있다.

• Journal of Ginseng Research
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• 제44권3호
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• pp.506-518
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• 2020

Background: Red-skin root of Asian ginseng (Panax ginseng) significantly reduces the quality and limits the production of ginseng in China. The disease has long been thought to be a noninfectious physiological disease, except one report that proved it was an infectious disease. However, the causal agents have not been successfully determined. In the present study, we were to reveal the pathogens that cause red-skin disease. Methods: Ginseng roots with red-skin root symptoms were collected from commercial fields in Northeast China. Fungi were isolated from the lesion and identified based on morphological characters along with multilocus sequence analyses on internal transcription spacer, β-tubulin (tub2), histone H3 (his3), and translation elongation factor 1α (tef-1α). Pathogens were confirmed by inoculating the isolates in ginseng roots. Results: A total of 230 isolates were obtained from 209 disease samples. These isolates were classified into 12 species, including Dactylonectria sp., D. hordeicola, Fusarium acuminatum, F. avenaceum, F. solani, F. torulosum, Ilyonectria mors-panacis, I. robusta, Rhexocercosporidium panacis, and three novel species I. changbaiensis, I. communis, and I. qitaiheensis. Among them, I. communis, I. robusta, and F. solani had the highest isolation frequencies, being 36.1%, 20.9%, and 23.9%, respectively. All these species isolated were pathogenic to ginseng roots and caused red-skin root disease under appropriate condition. Conclusion: Fungal complex is the causal agent of red-skin root in P. ginseng.

• 비교문화연구
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• 제38권
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• pp.145-190
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• 2015

The objective of this paper is to investigate translated individual words in J. S. Gale's "Choon Yang" in comparison with its original OkJoongHwa("獄中花") while referring to early modern bilingual dictionaries and missionaries' ethnography. Gale faced a lot of translation difficulties because the source text had a very different cultural system from the object text. OkJoongHwa was a Korean pansori novel which meant it included many Korean characteristics. However, Gale considered its Korean characteristics were deeply connected with Chinese classics. Even famous people and place names cited from the Chinese classics in OkJoongHwa represented the Korean thinking. Gale tried to faithfully translate the source text as much as possible whether the words were Chinese or Korean. In this paper, we deal with mostly various translation aspects of the Chinese-letter words in OkJoongHwa. Gale's first method to translate words made of Chinese Character is transliteration, the examples of which are the name of Chinese famous people and places, and Chinese poems. The second method is to parallel transliteration and English interpretation equivalent to the Chinese Character. The examples are the names of main characters like "Spring Fragrance or Choonyang," "Mongyong, or Dream-Dragon" and in his translation of word play in Osa (Commissioner), or Kamsa (Governor), kaiksa (a dead beggar). The third is literal translation of Chinese idiomatic phrases as Gale translated 侵魚落雁 into "She'd make the fishes to sink and the wild-geese to drop from the sky." The fourth is a little free translation of the title of public office, the various names of Korean yamen servants and the unique Korean clothing and ornaments. We expect Gale's many translation difficulties as we can see the translated long list of yamen clerks and Korean clothing and ornaments. After our investigation of his translation practices in "Choon Yang" we conclude that he tried to translate its literary language very faithfully though he could not avoid inevitable loss caused by the cultural difference involved in two languages. Gale's "Choon Yang" contributed to introducing the uniqueness of the classical Korean novel and Korean culture to the world more than any other English translation works of that time through his faithful translation.

• 문화기술의 융합
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• 제8권1호
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• pp.403-408
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• 2022

본 연구는 『그 많던 싱아는 누가 다 먹었을까』 중국어 번역본 4종의 번역 전략에 대해 분석하였다. 주지하듯, 박완서의 작품은 인물의 심리 묘사, 추상적인 어휘, 관용어, 속담, 방언 등이 많아 중국어로 번역할 때 이역, 해석역, 창조역 등 다양한 번역 전략이 요구된다. 본고에서 연구한 4종 모두 번역자에 따라 다소 상이하긴 하지만 모든 번역 전략을 복합적으로 활용하였다. 연구결과 4종 모두 지명 명사, 인물 호칭 등을 번역할 시에는 한자어를 활용한 이역 전략을 많이 활용하였다. 역사·사회·문화·지리의 배경적 해석이 필요한 어휘 등에 대한 번역은 해석역 전략을 사용하였으며, 중복, 정치·역사적으로 민감한 문제, 한국어 발음 및 문법과 관련된 문제 등을 번역할 때는 창조역 전략을 활용하였다.