• Journal of Korean Library and Information Science Society
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• v.4
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• pp.61-90
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• 1977

The historical development of books examination with utilizing science become inevitable to the machanization of library catalogues. With the advance of times, like this, a new- development of $Indention('||'&'||'$ : Kisun) must be sought for which is a kind of descriptive catalogues being used now. This paper is scheduled to grasp problems in the course of using and logical grounds of Indention which hal-e been used disordering. It must be considered that four kinds of Icdention settlement is suitable to the features of Korean letters. 1) TI-e must consider the features of Korean Language and Oriental Language writing(Japan, China). There must be a establishment of floating $Indention('||'&'||'E$ : Kisun), which are suitable for the writting style or hand writting man on the point of most of Koreans are depend upon hand witting, then books catalogues like western language, not left edge of the cards of the $Indention(B$ : Kisun) establishing, from edge to Call Number, from the last of the Call Number to First Indention(%-Bl63). First Indention(%-%%) to a space of Second $indention($\ulcorner^%)$ must be established and then, every catalogue and Indentions are distinguished surely. 2) \Then we consider the developing catalogue making in the future. It is important to establish a fixed $Indention('||'&'||'$ : Kisun) for machinization of typewriter(Korean, Mimeographing) and computer, etc ... not "Cm" unit but "Space" unit, and consider oriental letter, ne make more surplus space as a Indention, we can give anadaptablity of using machines. 3) Considering typography printing and type-setting printing by printing type, we must fit the $Indention(\ulcorner'||'&'||'$ : Kisun) as a "Cm" unit, and there must be a re-adjustment of $Indention(g$$ : Kisun) which considered the complexity of Call Number by a mass of collecting books like this, the establishment of Indention(E'||'&'||'j!: Kisun). We must not use a uilified one as a concrete conception by "Space" or "Cm" unit which has been used now but re-adjusted adaptably which can be fited as a method of making of catalogues. 4) The name of $Indcntion(J, S$ : Kisun) has becll called 7;arious methods until now, but English Indention which has been used without any concrete mexirig must be used as a ours fitable as a our mind. The above mentioned is presented as a Indention and examinational l~letilods by myself style, I wants these r i l l be helpful to the future developments of the machanization of Indention $(sf:$ Ki sun). Concrete studies must be continued in the future for development of $Indention(zj:$ : Kisun). : Kisun).

• Cartoon and Animation Studies
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• s.30
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• pp.27-57
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• 2013

Animation which appeared with films in the late 19th century was a medium which came on obtaining nourishment from art historical style of modernism. However, the relation establishment between animation and modernism has been focused mainly on animation shapes, namely painted images. This sprang from explaining the relationship between animation and paintings, and for this reason, discussions of movements in animation were understood in tradition of chromophotograph of Muybridge and Jules Marey, or some characteristics owned by the live-action film. However, movements of animation were essentially different from the indexical sign of films or photogram, and objects of reproduction were different between them. Movements reproduced by animation are not ordinary movements, but expressions of or compressed movements and considerably systematic movements. As a result, these movements are far from reproduction of live-action film photogram. Rather, the logic of movements reproduced by animation comes near to controlling their motion scopes, time, distance etc. after dividing each part of the body. This is concluded in a standpoint of modern mechanism which is represented by Descartes and La Mettrie who tried to understand human body as a exchangeable machine. Design of modern mechanism ranging from modern society to industrial society and the age of modernism came to lead to analysis of physical motions of modern industrial society called composition of efficient movements understanding them as the law of nature rather than movements as nature. In the late 19th century, Taylor, F. W. and Gilbreth, Frank Bunker's studies of workers' working hours and 'motion study' were a way of constituting the frame of machine-human, which indicates that tradition of modern mechanism affected the entire modernism passing through industrial society. Further, we can see that motion studies conducted by them have almost similar characteristics to action analysis to study animation later in the name of 'timing'.

• Journal of the Korean Professional Engineers Association
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• v.12 no.1
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• pp.12-20
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• 1979

The early history of gun powder (black powder) and explosives was closely connected with the discovery of methods of preparing and purifing salpetre (potassium nitrate KNO$_3$). The Chineses apparently became acquainted with salpetre firstly on about 11th century, and they were possibly the original discoverers of salpetre for raw material of gun powder. The Egyptians called it “Chinese snow”, and it is significant that Chingis-Khan, the Mongol conqueror, took the Chinese eenginees with him in 1218 to use it for attacking the fortifications of the Persian cities. The black powder was invented by chance by Chinese alchemists during the Song dynasty (11th century) in the process of manufacturing medicine, and the powder was introduced to Europe by Mongol army. The manufacturing method of salpetre and gun powder was introduced to Korea from China in 1374, and the powder alld gunnery manufacturing project was developed by Mu Sun Choe(崔茂宣), the first Korean engineer late in Koryo dynasty. Coming in to Yi dynasty the explosive technic, extractive method of salpetre, and gunnery manufacturing process were developed greatly by Mu Sun Choe and Hai Sin Choe (崔海臣). However, confronting with the Japanes invasion at Imjin War (1597) with more powerful western style rifles which had been introduced from the Portuguese, on the contrary Korean army with the traditional guns couldn't compete with them. The Chochong(烏銃, the western rifle introduced in Japane) were much superior to the Chinese style traditional guns in the shooting power and striking efficiency. On the other hand, the Japanese battle ships armed only with the Chochong, when confronted with the Korean turtle shaped ships under the commanding of Admiral Yi Sun-Sin(李舞臣), were defeated by the Korean canons on the ships. The technical development of the modern powder industry in Korea. with the construction of four big explosive plants from 1930 to 1945, has resulted the mass-production of explosives. This study was purposed to investigate to the process with regard to the details of introduction to the explosive technology in Korea, and intended to give a help to the engineers who are engaged in study of the explosive technics by means of giving a spot light data on the early process of the designs, and making suggestion to the researchers for further study and invent a new and modern explosive.

• Strategy21
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• s.42
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• pp.53-82
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• 2017

Samuel Eliot Morison (1887-1976) was one of the pre-eminent historians of his generation. He was not only a famous historian at that time, but also was promoted to the rank of Admiral in U.S. Navy Reserve. Fifteen volume History of United States Naval Operations in World War II was published between 1947 and 1962, was not only a comprehensive report on the Navy's projection of power over two oceans, but a classic of historical literature that stands as the definitive treatment of it subject. Although he was fifty-five when war come to America in December 1941. Samuel Eliot Morison was determined to play a role. A professor at Harvard at the time, he joined volunteering for duty in the Navy. An experienced sailor, Professor Morison had earlier sailed that same routes taken by Christopher Columbus while researching his biography, Admiral of the Ocean Sea, which appeared in January 1942 th much acclaim and later got a Pulitzer Prize. Thus Morison plunged into the war, crossing the Atlantic aboard a destroyer. He assumed himself as "Parkman on the sea", tried to follow Parkman's historiographic method, not only participatory history but also literary style. And during writing History of United States Naval Operations in World War II, He emphasized two principles, publicity and objectivity. In terms of publicity, he always worried about who read history and why. In his pamphlet, "History as a Literary Art", he asserted it is useless if readers do not read a history which historians wrote. So he thought historians have forgotten that there is an art of writing of history. Therefore, he built his narratives around brightly rendered visuals and used the present tense to describe actions he witnessed firsthand, he wrote of the U.S. combat in very vividly. But strongly driven by publicity, he sometimes lost his balance in writing the naval history. For instance, the naval history became the focus of criticism for its prejudiced comments about the commanders. Also some reviewers asserted he did not secure the objectivity on writing the naval history. Although he sometimes deliberately torpedoed the objectivity of his work for strengthening publicity, by writing an extensive U.S. naval history, he introduced maritime history and naval history to the public widely. Until in early twentieth century, U.S. historians usually had been focusing their effort to the traditional areas, for example politic, economy, and etc. His intensive effort on the operations of U.S. Navy in World War II aroused a public interest in maritime and naval history. In conclusion, through using literary style and realistic narratives, historian Morison wrote a naval history for all the people which could appealed to the public.

• Journal of the Korean Home Economics Association
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• v.40 no.5
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• pp.25-37
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• 2002

The purpose of this study is to give basic information in comparison of workspace of traditional housing between traditional Waga and Choga in Jeju. The subjects of this study are six Waga (roofing tee system), authorized as Jeju Folklore Materials and five Choga (roofing thatch system), authorized as National Major Folklore Materials. The results of this study were as follows. 1. Household workspaces in Waga were separated by three places: Jungji, Chatbang, and Gopang. In Choga, it was separated by two places, Jungji and Gopang. 2 As a number of Jungji, Waga had one, which meant that two or more generations shared the kitchen facilities. Choga, it had one or two Jungji, which meant that each generation used different kitchen facilities. 3. functional space of division Waga was specific. So, meal preparation was done in Jungji, and dining was done in Chatpang. However, in Choga, both meal preparation and dining were done in Jungji. 4. The sequence of space, in the JungjiGeriBulDong style, which Jungji was located in the detached building, showed that the circulation directs: Gopang->Sangbang->Chatbang->Madang->Jungji. AnGeriJungji style, which Jungji was located in the main building, showed that the circulation directs: Gopang->Sangbang(->Chatbang)->Jungji. 5. In the size ratio of household workspace to whole size of the house, Waga occupied 30%, and Choga occupied 21%.

• Journal of the Korean Society of Costume
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• v.32
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• pp.225-242
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• 1997

This study is historical research on the relationship between the Changes of the Form of costume and the recognition of the beauty of the body from prehistorical period to Ch'ing Dynasty in Chinese female costume. In figure painting a significant point was to describe the spirit of the figure so Chinese painters were less interested in ideal body pro-portion or body shape than Westerns. But idealized beauty of the female body existed and changed keeping abreast with the form of costume in each period. In the prehistorical period Wemen fasten waist belt so enabled to distinguish upper part of the body from lower one. "Locust-forehead moth-eyebrows(蝗首蛾毛)" recorded in "the Book of odes(詩經)" was the canon of beaty and Wemen tried to make their forehead broad and square from Zhou Dynasty to the Wei Jin periods. From the age of Civil War to han Dynasty Slender waist was loved so waist was tightly fastened and hemline became broader. in the course of that time Plump body in big cloth with broad sleeve emerged but that was less significant than Tang Dynasty. During Wei Jin and the Southern/Northern Dynasty undergo disruption and division they admired Taoist images. Loose fitting style with handkerchief hemline and broad sash belt was prevailed while miserable life was reflected gaunt face and lean body. Suk Dynasty also preferred a slim and long body silhouette. The style was presented extremely high waist line long and narrow sleeve slim and long skirt which expressed dynamic and straight image. The culture of Tang Dynasty was open and diverse and that character enabled blod decolletate revealing body line by tight fitting and special make-up-Social background of uion and stabilization made female body extremely plump full face. full breast and hips with most erotic image. The period of Kaiyuan Tianbao fashioned mannish disguise presented androgynous image. Five Dynasty and Song Dynasty restored standard body type so upper garments concealed neck and bust high waist line lowered which represented refined and simple outfit. But another eroticism emerged as foot-binding in Song Dynasty. For the sake of covering up deformed top of the feet and ankle gaiters and arrow shaped shoes were devised. During Ming Ch'ing Dynasties body shape became more slim weak and young causing to escort instinct that reflects 'Lust' or 'Mundanity'.

• Journal of Gifted/Talented Education
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• v.20 no.2
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• pp.395-426
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• 2010

The purpose of this study was to delve into parents who turned their children into creative achievers in the East and the West in an attempt to determine the cultural generality and specificity of the rearing of gifted children. The subjects in this study were Western parents, who brought up Marie Curie, Einstein, Edison and Newton, and Eastern parents, who raised Lee Hwang, Lee lee, Jeong Yak-yong and Heo Nanseolheon. To compare their parenting characteristics, common denominators and differences, a variety of data were investigated, including historical records about the parents, biographies, critical biographies, autobiographies and letters. As to the common features of the parenting style of the eight Asian and Western parents, they were talented themselves or capable of educating their children in their talent areas, and provided them with optimal learning environments or chances without pushing them. They accentuated independent spirits and emphasized renovative and open way of thinking. And at least one parent in each family showed absolute support for their child. Regarding differences in parenting style between the East and the West, the Western parents urged their children to develop their talents with more intention, rather the Asian parents prized the well-rounded personality and growth of their children. The former interacted with their children in an horizontal manner, but the latter had a vertical relationship with their children. The former expressed their feelings in an active way, but the latter had their emotion in control. Besides, the Western parents disclosed themselves to their children by showing them even their mistakes or improper behaviors, whereas the Asian parents strived in everyday life to give their children a good example or a good role model.

• Journal of Korea Entertainment Industry Association
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• v.15 no.3
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• pp.65-73
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• 2021

This research analyzes the characteristics of Chinese tragic films with Chinese traditional ethical ideology as the core, analyzes its specific performance in the plot and ending setting of the film , and analyzes the director's tragic narrative strategy of cultural reconciliation in the face of political environment to understand the characteristics of Chinese contemporary tragic films.The film is a Chinese contemporary tragic film with The Great Cultural Revolution as its historical background. This film is a representative film of Chinese contemporary tragic films. The classic plot has played a certain role in the expression of Chinese traditional ethical ideology such as fatalism and optimistic attitude to life. The male lead's thought changes interpret the Chinese-style tragedy characteristics containing Chinese traditional ethical ideology. In the setting of the ending, the film broke through the "happy ending" model of Chinese traditional tragedies, and chose the open ending of "one tragedy to the end", further showing the time feature of Chinese contemporary tragic film. The euphemism and tenderness of the film as a tragic film is not only due to the compromise with the political culture of power, but also the result of the director's in-depth understanding of the aesthetics of Chinese tragedy. Through the use of symbolic signs in the film language, it has formed the implicit characteristics of the film narrative in the tragic aesthetic experience. In this paper, the author conducts text analysis for the film and discusses presentation of Director Yimou Zhang's tragic feelings and using the tragic narrative strategy of cultural reconciliation to show his creative wisdom in pursuing artistic breakthroughs under political pressure.

• SUVANNABHUMI
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• v.4 no.1
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• pp.57-90
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• 2012

This essay is for a study on the survey of buddhist cultural literary document about the Southeast Asia by Nanqishu(南齊書), Liangshu(梁書), Chiu T'angshu(舊唐書), Hsin T'ang shu(新唐書) which are included in the Chinese Official History and Jí-shénzhōu-sānbăo-găntōng-lù(集神州三寶感通錄), Weioshu Shilao Ji (魏書 釋老志). These documents allows us to imagine next some historical states. First, these documents are recording this area, especially Funan, as a plentiful diggings of gold, silver, tin, copper, etc. These are important materials for gilt bronze sculptures. Further, this local produced gold called 'Yangmai(楊邁)' is recognized as same as Zĭmòjīn(紫磨金) in china, and these documents explains the process of producing the bronze images and golden ornaments in Southeast Asia. Specially, this plentiful materials leads them to make a 10 wei(圍) tall golden-silver image which worshiped as hindu god or sometimes buddhist images. Second, Vietnam and Funan in Northern and Southern Dynasty periods were in antagonistic relationship not only in the political but also in religious between Vietnamese Hinduism and Funan's Buddhism. Under this situation, the monk Nagaxian(那伽仙) who had came from India was accredited to Southern Qi court as a delegate to build a good relationship by the common religion Buddhism. It means the Buddhism of Southeast Asia also took a role of diplomacy. Third, these documents proved the active Southeast Asian cultural exchange in early 3th century. At this time, Funan delegate Suwu(蘇物) visited the court of Kushan Dynasty in India and he is seemed to travel the city of Pātaliputra. It oppressed us to extend our outlook which have been restricted in the relationship between Southern india and Southeast Asia to more broaden area. In addition, the buddhist art of Southern India and Bodhgaya temple was imported to Southeast Asia directly to send to Southern China. For example, the wooden buddha image, Bodhgaya stupa image, and Sri Lanka style's buddha images are looked be introduced to Southern China at this time throughout the Southeast Asia. At last, we got to know that the court music of Kucha in the northern silk route was imported to the Southeast Asia in early middle age. Even it may be introduced by China, but this document is very important to make the surmise is not unreasonable that the buddhist culture of northern silk route imported to the Southeast Asia accompanied with Kucha music. The buddha images in Gandharan style which are excavated from some site of Southeast Asia may demonstrate this literary sources is authentic.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.1
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• pp.92-102
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• 2020

The followings are the landscape preference aspects from the 816 landscapes(景, Kyung), which comprise the 78 modern Palkyungs, presented by the 78 local governments in Korea. First, the natural environment elements selected as Kyung(景), which are topographical landscapes, mostly consist of mountain elements such as mountains, terrace(臺), rocks and stones and water elements classified as rivers, oceans, and lakes. Natural elements also include old-growth and giant trees such as pines, ginkgos, Japanese cornels and fringe trees, tree-lined streets and forests, and plant elements such as azaleas, rhododendrons, lotuses, reeds, and silver grasses which provide seasonal landscapes. Second, more than half of Kyung, selected as human environment elements, are historical and cultural heritages such as graveyards, mountain fortresses, town fortresses, traditional villages, pavilion in villas, and temples. And it is followed by leisure tourism facilities such as traditional markets, exhibition halls, theme parks, beaches, and food streets, green-based structures such as trails, plazas, parks, and botanical gardens, and industrial heritages such as ranches, abandoned coal mines, stations, ports and bridges. Third, modern Palkyungs include objects not related to the views such as local representative facilities, regional products, and festivals. Fourth, although most of the modern Palkyungs consist of eight, some include 20, 38, or 100 in order to increase the number of objects of public relations. Fifth, a certain local government makes two modern Palkyungs with different subjects by introducing traditional Palkyung and modern Palkyung altogether. In this case, it presents several modern Palkyungs like by selecting Palkyungs in a limited area. Furthermore, one Palkyung includes numerous place names at a time in some cases. Sixth, Sosangjeonhyeong(瀟湘典型)-style modern Palkyung uses 'NakAn(落雁)' as the name of Kyung. Sosangyusahyeong(瀟湘類似型)-style modern Palkyung expresses 'Hyojong(曉鐘)' and landscape of glow of the setting sun, sunset, night view, dawn, sunrise and depicts cloud, sunset, moon, and snow. There are many Myeongsocheheomhyeong(名所體驗型)-style Palkyungs exhibiting the behavior of tourism and Myeongseunghyeong(名勝型)-style Palkyungs raising the awareness only by the names of the places. Seventh, modern Palkyung's naming styles are diverse, such as using only four letters instead of specifying Kyungmul(景物) or Kyungsaek(景色) in combination with Chinese characters or adding modifiers specializing in places.