• The Journal of Art Theory & Practice
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• no.4
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• pp.57-76
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• 2006

From the late 1920s to the 1930s, Korea's fine art community focused on traditional viewpoints as their main topic. The traditional viewpoints were discussed mainly by Korean students studying in Japan, especially oil painters. Such discussions on tradition can be divided into two separate halves, namely the pre- and post-Sino-Japanese War (1937) periods. Before the war, the modernists among Korea's fine art community tried to gain a fuller understanding of contemporary Western modern art, namely, expressionism, futurism, surrealism, and so forth, on the basis of Orientalism, and borrow from these schools' in order to create their own works. Furthermore, proponents of Joseon's avant-garde fine arts and artists of the pro-fine art school triggered debate on the traditional viewpoints. After the Sino-Japanese War, these artists continued to embrace Western modern art on the basis of Orientalism. However, since Western modern fine art was regressing into Oriental fine art during this period, Korean artists did not need to research Western modern fine art, but sought to study Joseon's classics and create Joseon's own avant- garde fine art in a movement led by the Munjang group. This research reviews the traditional view espoused by the Munjang group, which represented the avant-garde fine art movement of the post-war period. Advocating Joseon's own current of avant-garde fine art through the Munjang literary magazine, Gil Jin - seop, Kim Yong-jun and others accepted the Japanese fine art community's methodology for the restoration of classicism, but refused Orientalism as an ideology, and attempted to renew their perception of Joseon tradition. The advocation of the restoration of classicism by Gil Jin-seop and Kim Yong-jun appears to be similar to that of the Yasuda Yojuro-style restoration of classicism. However, Gil Jin-seop and Kim Yong-jun did not seek their sources of classicism from the Three-Kingdoms and Unified Silla periods, which Japan had promoted as a symbol of unity among the Joseon people; instead they sought classicism from the Joseon fine art which the Japanese had criticized as a hotbed of decadence. It was the Joseon period that the Munjang group chose as classicism when Japan was upholding Fascism as a contemporary extremism, and when Hangeul (Korean writing system) was banned from schools. The group highly evaluated literature written in the style of women, especially women's writings on the royal court, as represented by Hanjungnok (A Story of Sorrowful Days). In the area of fine art, the group renewed the evaluation of not only literary paintings, but also of the authentic landscape paintings refused by, and the values of the Chusa school criticized as decadent by, the colonial bureaucratic artists, there by making great progress in promoting the traditional viewpoint. Kim Yong-jun embraced a painting philosophy based on the painting techniques of Sasaeng (sketching), because he paid keen attention to the tradition of literary paintings, authentic landscape paintings and genre paintings. The literary painting theory of the 20th century, which was highly developed, could naturally shed both the colonial historical viewpoint which regarded Joseon fine art as heteronomical, and the traditional viewpoint which regarded Joseon fine art as decadent. As such, the Munjang group was able to embrace the Joseon period as the source of classicism amid the prevalent colonial historical viewpoint, presumably as it had accumulated first-hand experience in appreciating curios of paintings and calligraphic works, instead of taking a logical approach. Kim Yong-jun, in his fine art theory, defined artistic forms as the expression of mind, and noted that such an artistic mind could be attained by the appreciation of nature and life. This is because, for the Munjang group, the experience of appreciating nature and life begins with the appreciation of curios of paintings and calligraphic works. Furthermore, for the members of the Munjang group, who were purists who valued artistic style, the concept of individuality presumably was an engine that protected them from falling into the then totalitarian world view represented by the Nishita philosophy. Such a 20th century literary painting theory espoused by the Munjang group concurred with the contemporary traditional viewpoint spearheaded by Oh Se-chang in the 1910s. This theory had a great influence on South and North Korea's fine art theories and circles through the Fine Art College of Seoul National University and Pyongyang Fine Art School in the wake of Korea's liberation. In this sense, the significance of the theory should be re-evaluated.

• Clinical and Experimental Pediatrics
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• v.51 no.4
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• pp.391-395
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• 2008

Purpose : This study was performed evaluate optimal dose for disimpaction, efficacy and safety of PEG 4000 in children with chronic functional constipation. Methods : Eighty six children with chronic functional constipation were enrolled in this prospective study at Konkuk university hospital March, 2003 through August, 2006. Success in disimpaction with PEG 4000 was defined as meeting at least two out of three criteria; resolution of chief complaint, getting easiness of defecation with respect to frequency of bowel movement and hardness of stool based on defecation diary, and decrease in fecal impaction on simple abdominal X-ray test. Adverse effects of PEG 4000 were monitored clinically and biochemically. Results : Eighty three out of 86 children completed the study, and success rate of disimpaction was 99% (82/83). The mean dose of PEG 4000 for disimpaction was $0.93{\pm}0.28g/kg/day$ (0.4-2.0 g/kg/day, Max.: 30 g/day). Frequency of bowel movement increased ($5.02{\pm}2.71/wk$ vs. $11.25{\pm}5.43/wk$) in most children (79/83). Fecal impaction on simple abdominal X-ray test improved with statistical significance in 25 children (P=0.0007). Because of adverse effect of PEG 4000, 3 children did not complete the study; urticaria, severe diarrhea, diarrhea and abdominal pain. One 6-year-old girl who completed the study complained tingling sensation in the hand and foot without laboratory abnormality (4/86, 4.7%). Laboratory test revealed hyperosmolality without clinical symptom in 1 child, and eosinophilia in 6 children. Conclusion : The average safe and effective dose of PEG 4000 for disimpaction was $0.93{\pm}0.28g/kg/day$ (0.4-2.0 g/kg/day, Max : 30 g/day) in children with chronic functional constipation.

• Journal of Korean Society of Forest Science
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• v.89 no.1
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• pp.24-32
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• 2000

We investigated the patterns of soil horizon evolution and its water distribution on three different forest stands covered with Larix leptolepis, Pinus koraiensis, and Qercus mongolica on the Experimental Forest of Kyunghee University, located in Kwangju, Kyunggi-Do. Compared to the properties of depths of O and A horizons evolved on the Pinus koraiensis stand, the depths of O and A horizons on the forest stands of Larix leptolepis and Qercus mongolica were shallower, indicating that the soil horizon were deeply influenced by geographical characteristics, its erosive and sedimentary distinction, vegetation cover and its population density. And the bulk densities of the sites selected were lower in the high slope gradient than that in the lower slope gradient at the same depth of soil profile. Therefore, the changes of the soil bulk densities were closely related to the soil organic matter and the vertical transport of soil particle throughout soil depths. On the other hand, the bulk density and organic matter content in soil can influence the water transport phenomena, resulting in decrease of the hydraulic conductivity as the increase in the bulk density, while the organic matter can not affect the hydraulic conductivity on the soil surface layer. For a rainfall infiltration characteristics from a lysimeter experiment established on the stand of Larix leptolepis, the bulk density and slope gradient strongly influenced the vertical transport of water, as well as the lateral movement of rainfall. Conclusively, the characteristics of water movement and distribution in the forest stand can be determined not by the geographical factor such as slope gradient but also by the bulk density and organic matter content remained in soils.

• Journal of the Korea Organic Resources Recycling Association
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• v.20 no.4
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• pp.106-117
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• 2012

Indirected heating dryer is used as one of the food waste treatment technologies for the production of the drier material supplied to the recycling facilities or end user. This study investigated the effect on drying efficiency for the operation of rotating screw with the circulating and falling movements on indirected drying process of food waste. The screw operating condition showed higher drying efficiency despite of the shorter drying time compared to the screw non-operating condition. The moisture content decreased to 14.4% from the initial moisture content of 77.1% after drying 5 hours in the screw operating condition. On the other hand, in the screw non-operating condition, the moisture content decreased slightly to 35.6% after drying 16 hours. During the drying process, variations of the water evaporation rate and particle size showed different tendencies depending on the moisture content regions. In the higher moisture content region above the glue zone(moisture content of about 50%-60%), the particle size increased and the water evaporation rate reached the highest peak. In the range of glue zone, the particle size maximized while the water evaporation rate decreased sharply. In the lower moisture content region below the glue zone, the water evaporation rate and particle size both decreased at the same time. The particle size distribution was widely ranged from 25.0mm to 0.25mm in the screw operating condition while it was narrowly distributed in the screw non-operating condition from 25.0mm to 3.56mm, especially highly concentrated to 25.0mm. It was regarded that the hygroscopic, capillary and gravitational water evaporated more easily from the intra-particle during the circulating and falling movement caused by the rotating of the screw and the difference of the cohesional force of water within intra-particle depending on the moisture content regions. Comparing the effect of the circulating and falling movement on drying efficiency, the water evaporation rates per time and per weight of dry solid in the screw operating condition were higher about 364% and 356%, respectively, than those of the screw non-operating condition.

• The Journal of Art Theory & Practice
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• no.5
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• pp.43-80
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• 2007

PASKYULA was formed in September, 1923 through the union of artists involved in two art groups: Kim Ki-Jin, Kim Bok-Jin, Yeon Hak-Nyeon who had previously participated in the ToWolHoi, and Park Young-Hi, Lee Sang-Hwa, An Seok-Ju, former members of the BaeckJo. After its founding, the PASKYULA artists had been searching for the social function of art to reform the harsh reality of Minjung and the nation with criticism toward society as well as art world. Their art theory for MinJung could grow relatively ease in relation to changing social and political conditions in the early 1920s. In August, 1925, PASKYULA organized the Korea Artista Proletaria Federatio with the YeomGunSa, and laid the groundwork for Proletariat art movement which was regularized in the late 1920s. From PASKYULA up to the early state of KAPF, the theory of art advocated by Kim Bok-Jin and An Seok-Ju could be summarized as "art for MinJung". At that time, widely ranging discourses on MinJung, however, was spawned in art theory, because many intellectuals-including artists and writers-begun to pay more attention to MinJung, who emerged as one of the social forces after the Samil Independent Movement. Sometimes, MinJung was construed as the target of enlightenment from a negative viewpoint. On the other hand, several intellectuals under the influence of individualism asserted that the discussion itself on MinJung exerted an evil influence on art. In contrast of these cases, the PASKYULA artists including Kim Bok-Jin, An Seok-Ju perceived that MinJung had the potential to change society, and regarded them as "a creator of genuine civilization and art". In the PASKYULA artist's writings, the concept of MinJung was often overlapped with the meaning of the Choson nation suffering under colony. Although their concept of MinJung was transformed gradually into the proletariat as they were under the strong influence of socialism, it did not change that they grasped the realities of the whole Choson Peninsula through the proletarian consciousness. In the early state of PASKYULA, the methodology for social function of art was presented in a twofold manner. First of all, Kim Bok-Jin emphasized on the necessity of education to improve MinJung's way of life through art, and it was embodied by the organization of ToWol Art Workshop and public lecture. Also, he championed "the popularization of art", which was one of methods to distribute art to MinJung. According to the PASKYULA artists, art should be not art for art' sake but art for MinJung. That was why they advocated the convergence of art and MinJung's life. Especially Kim Bok-Jin affirmed a link between art and industry because he considered industry the field inextricably linked with MinJung's life. In this context, his idea could be read as the generalization and equalization within the framework of possession. Kim Bok-Jin thought that the social ramifications of capitalism deprived MinJung of their right to enjoy art, and emphasized the artist' social role to return the right to them. That is, the even distribution of art was mainly discussed than the contents of art in the half of 1920s. By 1925, the contents of art itself became an issue in the PASKYULA art theory, and it was based in realism. Kim Bok-Jin and An Seok-Ju insisted that art should be reflection of real life. At that time, realism acquired the representation of MinJung and the nation's realities not realistic style. In fact, the various Western art styles including Futurism, Constructivism, Cubism etc. were exploited in the PASKYULA's visual images. Western art, target of criticism on theory, was selectively adopted in the works which were produced by Kim Bok-Jin and An Seok-Ju. Kim Bok-Jin's MoonYeUnDong cover design was conceived of as the example in which Western art was adopted with it's ideology under the influence of MAVO, while Western art shown in An Seok-Ju's illustrations served as a decorative function in many cases. Especially, An Seok-Ju attempted the various styles of Western art simultaneously, which may be seen as representing that PASKYULA did not have a firm ideology for their style. Also, it can be read as showing his hasty zeal to overcome Western art rapidly. The wish to establish "art for MinJung" as soon as possible was accompanied with the will to jump over the all steps of Western art though it was superficial. This aspiration of PASKYULA was expressed through the mass media, which had the potential for communicating to MinJung. At this point, there was a significant disparity between PASKYULA and another art groups in the first half of 1920s. However, the PASKYULA's method on the basis of the mass media could not but have a certain limitation because of the medium's properties. Nevertheless, PASKYULA' attempts may be considered to be valuable in sense that they expended the boundaries of Korean modern art into the commercial art questioning the matter of the distribution for art.

• The Korean Journal of Archival Studies
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• no.41
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• pp.175-212
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• 2014

In 2001 a large amount of labor record have been donated from Jeontaeil Labor Archive-Institute to SungKongHoe University(SKHU). Institute of Labor History in SKHU was established in the wake of the installation of the labor archive. Development of oral archive raised the awareness of the various relationships between the use and production of labor record. Interviewees of oral testimony expressed dissatisfaction and the role of the researchers was not sufficiently exhibited. Examining the main cases of Korea union movement history, we can find contradictions between the use and production of labor record clearly. Interval of interpretation and memory was too big between the parties of 'democratic' union movement in the 1970s. While among the parties who took part in Guro Alliance Strike of 1985, there is a group that remains in the "winner" in history on the one hand, but "loser" on the other without any reasonable criterion. Active intervention of the record users(researchers) is very limited. Among citizens or workers how will be resolved such "struggle of memory" in due process can not be seen. This is one of the reasons why labor archive is not rooted in the region. In this paper, I present a methodological alternatives for the production and use of records through the construction of participatory labor archive. Further, the reconstituted contents of the "documenting locality" strategy by complementing the theoretical part of the method of participation. The study of local and locality requires a "scale" dimension that will make up the identity recognition space, a memory and identity, a social relationship rather than the dimension of the physical space. Alternative "documenting locality" strategy will be able to contribute to solve the problems that occur between the production and use of the recording in labor archive.

• Cross-Cultural Studies
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• v.45
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• pp.295-324
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• 2016

This essay attempts a contrapuntal reading of Thomas More's Utopia. Contrapunctual reading, proposed by Edward Said. attempts to make a text speak across temporal, cultural, and ideological boundaries to a topic of present. I examine two opposite readings of Utopia around 2011 by both pro- and anti-Occupy Wall Street positions. On the one hand, the opponents of Occupy find its limits as a utopian social movement echoing in the fictional character of Hythrodaeus and the alternative society verbally sketched by him in Book Two of Utopia. On the other, Occupy's advocates read More's text as embodying its radial possibility. However, each shares the tendency to denounce Book Two, praising Book One in which Hythrodaeus vehemently criticizes England; they read Hythrodaeus not as an utopian idealist but as a social critic. The Occupy, as a result, is seen here as having an ambivalent relationship to utopianism. I reinterpret the radical possibilities of Book Two criticized by both pro- and anti-Occupy invocations of Utopia. Book Two provides a utopian space in which the existing social contradictions are cancelled, revealing the limits of the three partial utopias proposed at the end of Book One. Following Louis Marin's argument, I argue, the "utopic" space does not lie in the so-called ideal society described in the text but in the inconsistencies between the text's description(discourse) and topography(map). In Book Two the existence of a king is described, yet his space is not found in the topography of utopia; likewise market is described as existing at the center of a city, yet its space is not found either. These inconsistencies create a neutral space in which the ideological contradictions of the text are cancelled, and the space opens up the possibility of communal society beyond modern sovereign power and capitalism I argue this utopian dream needs to be summoned once again in our time as a compelling alternative to the corporate, capitalist order.

• Journal of Popular Narrative
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• v.26 no.4
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• pp.9-41
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• 2020

Park Jong-won's debut film "Guro Arirang," based on a short story of the same title by Lee Moon-yeol, is the first commercial film to deal with labor struggles from a worker's point of view in the wake of the 1987 democratic movement, and a pioneering work in terms of representing female workers the Korean cinema has traditionally turned away from. In this film Park Jong-won tried to win the sympathy of the middle class for labor movement in spite of the red scare which still stood firm in the Korean society at that time. To convey its progressive message in a form acceptable to the middle class public, the film portrays labor issues in the light of universal humanity and ethics, not in terms of class hostility or struggle. Park Jong-won calls this point of view "common sense of normal people" and emphasizes its universality and objectivity. This study critically examines the cinematic strategies to deal with labor issues in a form acceptable to the public in a conventional and commercial film and the ideological implications of the "common sense of normal people" reflected in such strategies. The first chapter of the study reveals that the film destroys the irony of the original story and reduces the complex constellation of the characters to the conflict between pure good and evil, creating a melodramatic composition in which the good falls victim to evil. The tragedies suffered by the workers in the film are of course intended to arouse the audience's strong sympathy and solidarity with them. The second chapter shows that the film's various scenes and episodes converge on the them of compassion and grief, and are mostly based on cultural and real experiences and events that caused great public sensations at that time. Especially in the last decisive scene of the movie, the memory of the June 1987 uprising is strongly recalled. So "Guro Arirang" can be seen as a patchwork of proven cases of compassion and grief. The third chapter examines the implications of the scene where the workers turn back demands for wages and put the issues of human treatment and trust to the forefront at the crucial moment of their struggle. It appeals to universal moral values and sentiments that everyone has to acknowledge and removes the political dimension from the workers' campaign. While the film tends to become a pure story of humanity marginalizing irreconcilable conflicts of class interest, the workers fall to the position of passive victims who can be deeply sympathetic on the one hand, and on the other, are idealized as leaders with noble attitude keeping themselves aloof from the hard reality. As a result, the movie loses its realistic ground and weakens its narrative probability. The scenes reminiscent of the 1987 uprising which evoke the solidarity between working and middle class fail to integrate harmoniously into the whole story of the film and remain only as fragmentary parts of the patchwork of compassion and grief.

• Maritime Security
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• v.7 no.1
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• pp.31-60
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• 2023

This study proposes a new convergence weapon system that combines the covert placement and detection abilities of a self-propelled mobile mine with the rapid tracking and attack abilities of supercavitating rocket torpedoes. This innovative system has been designed to counter North Korea's new underwater weapon, 'Haeil'. The concept behind this convergence weapon system is to maximize the strengths and minimize the weaknesses of each weapon type. Self-propelled mobile mines, typically placed discreetly on the seabed or in the water, are designed to explode when a vessel or submarine passes near them. They are generally used to defend or control specific areas, like traditional sea mines, and can effectively limit enemy movement and guide them in a desired direction. The advantage that self-propelled mines have over traditional sea mines is their ability to move independently, ensuring the survivability of the platform responsible for placing the sea mines. This allows the mines to be discreetly placed even deeper into enemy lines, significantly reducing the time and cost of mine placement while ensuring the safety of the deployed platforms. However, to cause substantial damage to a target, the mine needs to detonate when the target is very close - typically within a few yards. This makes the timing of the explosion crucial. On the other hand, supercavitating rocket torpedoes are capable of traveling at groundbreaking speeds, many times faster than conventional torpedoes. This rapid movement leaves little room for the target to evade, a significant advantage. However, this comes with notable drawbacks - short range, high noise levels, and guidance issues. The high noise levels and short range is a serious disadvantage that can expose the platform that launched the torpedo. This research proposes the use of a convergence weapon system that leverages the strengths of both weapons while compensating for their weaknesses. This strategy can overcome the limitations of traditional underwater kill-chains, offering swift and precise responses. By adapting the weapon acquisition criteria from the Defense force development Service Order, the effectiveness of the proposed system was independently analyzed and proven in terms of underwater defense sustainability, survivability, and cost-efficiency. Furthermore, the utility of this system was demonstrated through simulated scenarios, revealing its potential to play a critical role in future underwater kill-chain scenarios. However, realizing this system presents significant technical challenges and requires further research.

• Korean Journal of Applied Biomechanics
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• v.12 no.2
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• pp.345-359
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• 2002

The purpose of the study was to provide the fundamental data to instruct athletes through the analysis athletes' movement in javelin. Three athletes in the level of national representative were participated in this study. The study analyzed kinematic variables(lead foot and releasing javelin) through 3-D analysis and obtained the following results. 1. During withdrawal, it is important to maintain of running horizontal velocity. 2. It was showed that throng average height was $84{\pm}3.3%$ and javelin adequative degree, Among the athletes, $S_2$ who had the best record was released the javelin with the fast velocity, but throw the javelin with the less releasing velocity. 3. $S_2$ released after lead foot were completely landed and therefore it is no problem in a kinematic aspect. However, $S_1$ angle was too small. it caused increase of release velocity to be prevented. 4. $S_2$ showing the best result indicated shorter in duration time. Generally, the shorter duration time in release phase showed the longer release distance. Especially $S_1$ and $S_3$ showing the worse result indicated the longer duration time in preparatory phase, causing the breakup of force. Therefore to improve the record, it should be decreased the duration time in preparatory phase. 5. Compared with $S_1$ and $S_3$, $S_2$ showing the best record indicated the higher velocity in center of mass, trunk, upper arm, lower arm and hand That is the higher velocity of upper arm at release leaded the better velocity transfer from upper arm to following lower arm and hand, these action should be considered to be helpful of better record. According to the above conclusion, when the athletic leaders cauch athletes, they should focus on maintaining knee angle, upper body and hip angle in a previous stage of release and throwing angle, throwing height, throwing velocity in a release stage.