• Journal of the Korean association of regional geographers
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• v.6 no.2
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• pp.21-40
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• 2000

The retail trades in many countries have changed recently according to the high quality, diversification, and marked individuality of consumer needs. Under the continually competing system of the WTO agreement, corporations based in the USA and the EU try to raise their market share in other countries so it is inevitable for Korean retail enterprises to compete with them. This paper is aimed at contributing to the efficient growth for Korean retail trade from the analysis of the development process in retail trade and its changing locations comparing Korea and the USA. Retailers in the USA have practiced diversified marketing strategies considerably in order to survive in a rapidly changing retailing environment. American retailing, which has the most advanced marketing system in the world, has been of growing concern to marketing strategies in Korea. The following is a brief summary of this study. 1. Speedy and higher quality consumption is needed in accordance with the great increase in the single-family household and the female labor force participation both in Korea and in the USA. Senior citizens have become a new consumer group due to the aging population. In the future the retail trade will switch over to diversified retail formats and internet shopping as countries are transformed into information and communication societies. 2. In Korea, the former retail system characterized by markets and department stores has been greatly changed since the late 1980s with emphasis on high quality and convenience in consumption behaviors, with large domestic enterprises and foreign distribution corporations participating in Korean retailing. In the USA, retailing mergers and takeovers by major retails, bankruptcies, and extra-large shopping centers have emerged since the late 1980s. Recently, the USA retailing formats have been changed from the lower price-oriented discount types to the large scale theme parks. Much emphasis was put on entertainment, resorts, and convention centers. On the other hand, non-store types, such as the internet shopping, the CATV shopping, as well as catalog and mail-order sales are drastically increasing, although the proportion of their sales is low up to now. 3. In Korea, most of the retail facilities are concentrated in Seoul and the Metropolitan Region, and the distribution ratio of facilities came to 52% in 1997. The periodic markets, traditional markets which open on a periodic basis, are located mainly in Chollanam-do and Kyungsangbuk-do. The large-sized discount stores have expanded their locations to the over-crowded apartment complexes in new towns, located in the Metropolitan Region, and the large provincial cities, unlike the suburban locations in the USA. Therefore we needed to give attention to the locational relations in retail facilities between Seoul & the Metropolitan Region and rural settlement areas. In the USA, urban areas grew quickly with the development of the automobile in the 1920s, and the location of stores changed from a dispersed style centering around rural areas to a centralized one in urban areas. There is an accelerated growth for suburban areas, which have grown rapidly since 1950. As the membership warehouse clubs were introduced in the 1970s, the decentralization of location was more intensified. On the other hand, inner cities were revitalized by rearranging existing facilities to cope with suburban areas. And the location-free virtual retailing & TV shopping are also growing every year. 4. In view of the above, the continuous and desirable development devices in Korean retail trade are summarized as follows: First, the countermeasures against economies of scale, increase in retailing sales, and rise of a employment percentage in retailing are in need. Second, a scheme of lowering the proportion of food retail sales, and increasing a ratio of durable goods sales need to be worked out. Third, the original ideas are needed to apply positively information, communication and technology to retailing, to graft the traditional types on modem ones based on the social culture. Fourth, strategies are needed to strengthen the competitiveness of our retail trade through cooperation and chains of smaller retailers, the large enterprises participating in the distribution industry. Fifth, in order to realize the above, the retail industry, the administration, and the academic world should support the retail segment with concern and a practical strategy plan.

• Korean Journal of Food Science and Technology
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• v.41 no.5
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• pp.541-546
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• 2009

The objectives of this study were to evaluate the physico-chemical and sensory characteristics of a Korean traditional alcoholic beverage (yakju) prepared using different nuruk (Korean-style koji) concentrations and yeasts such as the fusant FA776 and Saccharomyces cerevisiae KOY-1, respectively. The fusant FA776, which has alcohol-fermenting and starch-utilizing properties, was formed by Saccharomyces cerevisiae KOY-1 and Saccharomyces diastaticus KCTC1804. The fermentation trial was conducted in a 5 L lab-scale jar at $25^{\circ}C$. The maximum alcohol production of the K-100 and F-50 reached levels of 135.0 mg/mL and 119.4 mg/mL, respectively. The pH values were in a range of 4.3-4.5. Total acidity was in a range of 0.47-0.60%. Organic acids and amino acids were analyzed in order to evaluate variations in its composition and content via HPLC analysis. Organic acids including lactic acid, citric acid, malic acid, and pyruvic acid, and 16 kinds of amino acids, including aspartic acid, were detected in all treatments. K-100 showed the highest amino acid contents, whereas F-50 exhibited the lowest amino acid contents. Volatile flavor components such as phenylethyl alcohol, isoamyl alcohol, 2-methylthiophane, isobutyl alcohol, and ethyl succinate were detected as a major component in all treatments, as determined via gas chromatography. The results of our sensory evaluation demonstrated that Yakju fermented by the FA776 fusant yielded more favorable results than S. cerevisiae KOY-1.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.4
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• pp.32-48
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• 2022

This study analyzed the construction pattern and historical reality of Gwallamji Pond(觀纜池) in the rear garden of Changdeokgung Palace(昌德宮), which has been received as distorted information and has not received sufficient attention. The main topics consisted of the construction period and reorganization in the pond garden, changes in the installed wooden bridge, the existence of the berthing facility, and whether the plan shape was deformed. The main results of this study can be summarized as follows. First, the Gwallamji Pond was already completed before the Gapsin Coup, which occurred in the year of King Gojong. Since then, the Gwallamji Pond area, including the surrounding facilities, has been neglected for a while and was extensively renovated in the early 1900s. It is difficult to find a clear basis for the suspension and resumption of the Gwallamji Pond construction proposed in the previous discussion. Second, three types of wooden bridges with different shapes and structures were installed sequentially in the Gwallamji Pond. In particular, the second wooden bridge, which installed after the maintenance of the Gwallamji Pond, is judged to be the pontoon bridge depicted in Donggweoldohyeong(東闕圖形), and the railing of the bridge was decorated to symbolize the imperial family of the Korean Empire. The third wooden bridge, which appeared intensively in Japanese colonial era, was a Japanese-style bridge. Third, a berth facility for boarding and disembarking existed on the eastern shore of the Gwallamji Pond. The berth facility is also described in Donggweoldohyeong and it remained until the Japanese colonial period. However, as the maintenance work of the Gwallamji Pond was carried out several times after liberation, the berth facility was gradually damaged, and there are no traces left now. Fourth, The Gwallamji Pond was originally constructed in a planar shape of the Korean Peninsula similar to the present. It is necessary to reconsider the conventional theory that the Gwallamji Pond, made in the shape of a gored-shaped bottle, was renovated in the shape of the Korean Peninsula in Japanese colonial era. Even when the term Pandoji Pond(半島池) first appeared, there was no view that the Japanese intentionally modified the Gwallamji Pond.

• Journal of the Korean Society of Costume
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• v.16
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• pp.15-42
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• 1991

A nation's culture isn't consisted by the characteristics of the nation only, but it is greatly affected by the geographical features and natural conditions, and it could be also dominated by the continual effect through mutual contact on economic exchange or social problem and political interests with neighboring countries. It is a well known fact that the contact of culture between Korea and Mongolia established under the special political situation that Corea was invaded by Won. But more basically, the Nomad including Mongolia had influenced upon neighboring countries, therefore, our country was also greatly influenced on consisting of our own culture by them. Moreover. the fact that our language belongs to their language's category(mostly Tweigru and Mongolian language) proves that the origin of our culture was deeply related with Mongolia. Accordingly, we could not limit the cultural relation between Korea and Mongolia within a special era. But especially, since unification of China by Mongolia, Won which appeared as a new great nation had dominated Corea for one hundred years, and the Corea's costume culture had a point of conversion to the mongolian. Therefore, this study expects to comment upon the relations of costume between Corea and Mongolia from a view point of Corea's tribute and royal gifts gifts by Mongolia written on the reference literatures. 1) From the ancient times, between our country and Mongolia there has been a direct or indirect exchange caused by the people's movement or invasion due to very closed neighboring. The relations between Corea and Mongolia have started from the mongolia's requests of tribute for the reason why they helped Corea against the Keoran's invasion, and these relation had continued by King Kongmin's age. 2) Mongolia had plundered a tribute such as dress, cereals, horses, military supplies, soldiers, maiden and little girls etc. from Corea, and therefore, a great confusion occurred on political, economic and social fields. And since King Chungyoul of Corea got married with a Princess of Won, the Corea's position was placed as the Buma nation(nation of son in law) and then high class people of Corea preferred to follow the mongolian costume such as Byunbal (pigtail), Ho dress (mongolian dress), Rouges, Chockturi (a kind of formal cap) and Doturak pigtail ribbon, and some have been applied up to date. On the other hand, the custom of Corea had transmitted to the Mongolian nobility, they called it "Corea Yang(style)". 3) The costume of Corea could be divided into three different periods, the first is the period influenced by Tang and Song's regime, the second is affected by the Won's costume and the third is applying the Myung's regime in the end of Corea. The Mongolian dress was based on the Ho dress form and it has been developed through compounding artistic traditional fields and foreign customs in long history. And Mongolia is composed of various tribes, therefore, they have their own dress for each tribe. Our country and Mongolia had a similar dress form based on Ho dress and both used the Chacksukunggo (jacket with small sleeves and slacks) and Seon(line). And the ornaments of costume such as Chockturi, Doturak pigtail ribbon and Rouges had transmitted and fixed down as a traditional wedding garment, but the Rouges has been used by noble women from the ancient times in our country. Since a member of the Society of Korean Costume has visited Mongolia in August 1990 for the first time, I really recognized the neccesity of more detailed study on the costume relation between Korea and Mongolia, and I will proceed with the study on various fields of costume under cooperation of Institute of Oriental Academy of Mongolia.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.4
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• pp.1-21
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• 2013

This study has researched the characteristics and elements of the chuibyong, a sort of trellis in the Joseon Dynasty through the old pictorial data. The results were as follows; First, as a result of the analysis for the 25 pictorial data in the Joseon Dynasty, the chuibyongs have usually functioned as screening the facility to protect the private life and dividing the spaces of the site, but it was internally regarded as the props which symbolized the dignity and elegance of high class. Especially, not only the faunas such as crane and deer, and the floras such as Pinus densiflora, Musa basjoo, bamboo species and Paulownia coreana, but also various garden elements including oddly shaped stone, pond and pavilion were shown in the surrounding area of the chuibyong, and they were considered as a series of combination that was needed in the ideal garden for the literati. Secondly, the chuibyong was recognized as the ideological object which was typical of the literati culture in the story derived from an ancient event of China. Such image has been reflected intactly in the garden culture, and the chuibyong has been used(considered) as the important scenery of the season to imitate and reenact the Chinese Classical Garden in the narrative painting. Thirdly, in terms of the shape and function, the chuibyong in the paintings in the Joseon Dynasty basically had the function of the shielding and spatial division. Fourthly, the height of the chuibyung was similar to the one of fence which exceeds the person's height or Youngbyek(影壁) which is installed in the front and the rear of the main gate in China, and the various shape's chuibyung was properly set up in many spaces. Lastly, the making of the chuibyong in Joseon Dynasty was related to the trend of the writer's culture which was popular nationally in Ming dynasty rather than the particular functions or the location conditions. Especially, the symbol expression of the chuibyong showed on 'Elegant Gathering in the Western Garden' which was brought from China was recreated in the mansion of the upper class in Hanyang city as the center, and the primary mode for the expression of the wealth and writer's spirit through the chuibyong was transformed into the high-quality's garden element which could be created in the royal palace or the mansion of the upper class. Also, the use of the chuibyung was changed by spreading into the residential style for common people after the mid-nineteenth century, and it means that the chuibyung was developed into Korean styles.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.4
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• pp.14-25
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• 2016

This study aims to investigate what flowering plant Jeongjo loved, the attitudes and the reasons, and their implications. The study method was to investigate the contents and meaning in the historical records and to describe their interpretation. Jeongjo's life was consistent with very abstinent life style. His food, clothing and shelter were simple, and he did not show the interests in music, various arts and craft, women, and so on. He did not even show his interest in the flowers and plants of fairyland, beautiful flowers and plants. Jeongjo knew various kinds of flowers, and he was proficient in artistic expressions such as literature or painting with flower material. Due to this kind of attitude, there were few cases to demonstrate his taste on the specific flowering plant. The only one that Jeongjo revealed as his favorite flower was the pomegranate. However, the pomegranate was not the simple flowering plant as the subject of enjoying to Jeongjo. The pomegranate has the meaning of indicator plant to indicate the season of rice farming. Therefore, he made it to be the intermediary to indicate the farming season, which counted a few. Besides, Jeongjo who was threatened by the trials of assassination to him in his early throne period utilized 5,600 pomegranate flowerpots as the barricade of his shelter by arraying them with the type of stone piles in $B{\bar{a}}zh{\grave{e}}nt{\acute{u}}$(八陣圖). The use of Jeongjo's pomegranate flowerpots was not related to the visual utilization like ornament at all, which was very unique case. From multiple records, it was found that the pomegranate was the flower to be with Jeongjo in his period of reign. It is remarkable that the reason why Jeongjo kept pomegranate for a long time like this had the difference from enjoying practice on the ordinary flowering plant. This study has the limitation to be conducted depending on the Korean translated data. Further studies are required according to the translation performance of new historical records.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.4
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• pp.75-87
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• 2017

This study is the research about Okcheonjeong(玉泉亭) located in the backyard of Namhansanseong(南漢山城)'s temporary palace(行宮). Okcheonjeong was not only built by a government inside Namhansanseong but it was also representative garden which is shown the culture of the nobility. It became famous garden ruins recently because it has remained many carved stones. However, there has been no study about Okcheonjeong yet. We studied Okcheonjeong to establish basic knowledge by literature analysis and field investigation. We tried to discover garden style by deciphering carved stones, and estimate Okcheonjeong's location by documentary research. Sim, Sang-Gyu became Gwangjuyusu(廣州留守) in 1816, and he built Okcheonjeong on the backyard of Namhansanseong's temporary palace in 1817. It was located in the foot of a mountain beside a stream. It consisted of Pungaepok(楓靄瀑: waterfall), Chusudam(秋水潭: a little pond), and Okcheon(玉泉: a stone wall). The stone for sign stands in front of the entrance of Pungaepok to show Okcheonjeong, and there is Yeongyeondae(泠然臺) above the waterfall. We thought that Okcheonjeong was typical Imcheon-garden(林泉庭苑). Okcheonjeong is located in the foot of a mountain following Gamigyeong(歌薇逕) 60 meters so it was able to see the whole temporary palace from the Okcheonjeong. It was the garden pavilion of temporary palace, but it was used in semi public garden(半公的庭苑). Okcheonjeong is the only graden ruins which was located in Namhansanseong, so we have to preserve as cultural heritage. We expect to make use of primary datas to restore Namhansanseong soundly which was world heritage.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.2
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• pp.78-88
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• 2015

In the 1920s, the period of cultural governance ruled by Japan, the diverse media were founded and various events were conducted to boost circulation. Under the Japanese colonial period in 1920s, a number of media - newspapers and magazines - were published and often they carried out entertaining events in order to obtain more subscribers. A hobby magazine, Samchunri, for instace, set up a media event to selecting Korea's eight beautiful scenary (Bandopalgyong) for the first edition in 1929. The paper aims to analyse and understand the perception of landscape in 1929 through the media event carried out by Samchunri. In particular, the selection was made by well-known writers within Japanese colonial period 1910 - 1945). The selection process and views from the writers on landscape were analysed; firstly, the selection of Bandopalgyong was carried out by questionnaires to writers in 1929 where Korea is under Japanese colonial rules. The conditions of the selection were unknown; however, the purpose was enlightening the people specially the youngs and introduction of beautiful places in Korea. As a result, views and opinions on Bandopalgyong by the writers were progressed. Secondly, within the Bandopalgyong, the natural landscape areas include Gumgansan(金剛山), Daedonggang(大洞江), Buyeo(扶餘), Gyongju(慶州), Myongsasipri (明沙十里), Haundae(海雲臺), Baekdusan(白頭山), and Choksukru(矗石樓). Those chosen places were not cohesive nor did not have any consistant reasons to be chosen in terms of size and location; however, some writers claimed that there were other places to match the chosen ones and therefore, the selection process was highly dependent on access (i.e. transport). Thirdly, the travelogue on Baekdusan and Nackwhaam(洛花岩) illustrated interesting views on landscape in particular. Baekdusan landscape were described in overlaping with long history and national soul. In the Nackwhaam travelogue, it described 'Buyeo (夫餘) was an ancient capital of Backjae Dynasty and empty place' as well as denying Chosun Dynasty. It was assumed that the two places weren't visited but rewritten with existing literatures. Fourthly, edited by Kim Dong Whan, a travelogue style book, 'Bandosanha' was published in 1941. It did repeat the selection of Bandopalgyong, but this time, it was classified the eight beautiful landscape into two categories; historic/cultural places and natural landscape. This paper was able to analyse and understand the perception of landscape in 1929 through the travelogue of Samchunri. It is an empirical study on the process and perception on Korea landscape under Japanese colonical period by views of the selected writers.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.1
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• pp.31-43
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• 2014

The purposes for this research were to find the correct building background of Jondeokjeong(尊德亭) in the rear garden of Changdeok Palace(昌德宮) based on the historical facts for the area of Jondeokjeong and investigate the internal theory of construction through the metaphysical consideration. The results were as follows. 1. Building background of Jondeokjeong was related to Sohyunseja(昭顯世子) and Bongrimdaegun(鳳林大君) as forms of rear garden where was not built in the area of Jondeokjeong, bamboo pavilion, hexagonal pavilion, octagonal pavilion, etc. They were built two or three times after returning of Sohyunseja and Bongrimdaegun from China, and the area of Jondeokjeong was continuously developed by building Chunhyanggak(天香閣), Mangchunjeong(望春亭) and Cheoknoidang(滌惱堂) after Hyojong(孝宗) succeeded the royal authority of Hyunjong(顯宗) who was born in Shenyang(瀋陽) and hung a signboard of Jondeokjeong after then, etc. 2. Dazhengjeon(大政殿) of Shenyang Palace(瀋陽故宮, 1625) played the roles of major hall, Jeongjeon(正殿) which held national big events as a one-storied building with two piles of roof similar with Jondeokjeong (1644). Also, it was the building encountered when Sohyunseja and Bongrimdaegun participated in breakfasts held in the palace or banquets supervised by a king, so building background of Jondeokjeong was judged to be related with Dazhengjeon. 3. In consideration of characteristics which are shown commonly in Jondeokjeong and Dazhengjeon, relations of two buildings were verified and characteristics of Jondeokjeong were examined. First, dragon which is representatively symbolizing royal authority was formed. Therefore, Jondeokjeong was judged as a garden building which purposes were to obtain and train natural reasons, govern the nation and let people comfortable. Second, the purposes of sun dial, Ilyoungdae(日影臺) were judged to examine the accurate time and express appropriateness of the king. Third, Taechungmun(太淸門) around there is related to Samcheong(三淸) of Taoism and judged to be caused by floral wall and secular happiness accomplishment for king's longevity without disease. Fourth, for building style, one-stories pavilion of duplicated roof and building with only cylinder were to king's embodiment of supporting the sky and governing the nation.4) 4. By examining the differences between Jondeokjeong and Dazhengjeon, Jondeokjeong's own characteristics were considered. First, constructive characteristics of Jondeokjeong were changed by existing of pond and it was changed for characteristics, location and function of pavilion built in the garden while accepting oversea culture and embodied by absorbing to Joseon culture. Second, the appearance of the pond in Jondeokjeong was shown as the situation that half moon typed pond with the form of young moon is full by stream to the East. It was to express movement of moon which was always changed through the form of pond and stream of water iconographycally and it was considered as an imaginary environment method of the period.

• Journal of Science of Art and Design
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• v.7
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• pp.5-63
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• 2005

Generally, the meanings of destruction are related in the meaning of demolition, breakdown, into fragments ... and so on, and the similar meanings are twist, crush, demolish, split, cut, into pieces , break up ... etc. Further, it has related in the cruelty and destructive heart which are linked with orgy, Sadism, Necrophilia and so on. The meanings are also expressed by the initial , which are deprivation, deface, defame, deform, degrade, delegitimize, denounce , deride, destroy, devalue, as well as debase, debunk, declaim, declassify, decry, delete, denigrate, deprecate, despise or detract ...and so on. Dario Gamboni has discussed the meaning in his book as two categories Iconoclasm and Vandalism. And the similar meanings could be found in the words which has the initial of , like abase, abate, abhor, abjure, abolish, abridge, abuse ...and so on. Even though the distinct meanings of Iconoclasm and Vandalism, it is not easy to distinguish clearly between the differences when the results are accomplished in contemporary paintings because of the similarity of the results. In korean vocabulary there are no similar words to distinguish between the meanings of destruction and deconstruction, and the deconstruction is not recorded in the general dictionaries. However the meaning of is diminishing, separation, contrast and so on. So the unification of the word as do-construction is not construct, minus construction, reverse construction. And Vincent Ditch explained that there are the meaning of destroy the text. From Jacques Derrida, the deconstruction strategy is to criticise the world of traditional metaphysics and logocentrism, and not to reconstruire the philosophical meaning of texts but $d\'{e}construire$ them. And Saussure emphasized that the signifers could have more meaning that there can be more signified in traditional texts in the art. as a result, deconstruction is explained that there are many signified meanings in a signifer. In this thesis , from using the meanings of destruction and deconstruction, to distinguish the expressive skills in contemporary art works are arising. Therefore, special methods which are linked in the destruction styles are selected. As a result, the two different purposes of destruction is arising, one is enmity destruction and the other is self destruction another word, auto destruction or destruction to create The enmity destruction can be distinguished by the two category Iconoclasm and Vandalism. They come from the moment of different historical aspect is arising and want to attack the Icon or masterpiece this concept is from the study of John Philips and especially iconoclasm is linked with religious and artistic heart, but Vandalism is come from the political attack. Sometime, this distinguish is not clearly arising, because the two aspects are co-related in the attack. As a result, firstly, the Iconoclastic controversy had arisen in the methods of Dadaism which has developed by Man Ray, Francis Picabia and Marcel Duchamp. They want to attack the pre-established master-pieces and painting spaces, and they had 'non-artistic attitude' not to be art. Since 1980, the German artist Anselm Kiefer adapted the methods and made them his special skills so he had tried to paint tough brush strokes and draw with hugh pallette image line and fire and water images , they can be the image attack as the Iconoclasm. secondly, the model of vandalism is to be done by hammer, drill, canon and so on. the method is to attack the content of painting. Further, the object of destruction is bound by cords and iron lings to demolish or to declare the authority of pre-statues; it symbolize the pre-authority is gone already. Self-destruction based paintings are clearly different in the purpose of approaching the art work. First of all, they can be auto-destruction, creative destruction and metamorphosis destruction, which is linked with the skill the material aspect and basic stature, and sign destruction or signifier destruction, which is link with the inner meaning destruction that is considered as the Semiotical destruction in post-modern paintings. Since 1960, the auto destruction is based on the method of firing, melting, grinding and similar skills, which is linked with Neo-Dada and reverse-assemblage. Metamorphosis destruction is strongly linked with the basic inner heart price and quality, so it can be resulted in the changedness of expectation and recognition. Tony Cragg has developed the skills to metamorphose the wood as stone or iron as cloth and stone as sponge and rubber and so on. The researcher has developed the same style in the series of since 2003. The other self-destructive methods are found in the skill of sign destruction. In the methods the meaning of the art is not fixed as one or two, but is developed multi-meaning and differ from original starting situation, so Jacques Derrida called the difference meaning in deconstruction. It is the destruction of textes. These methods are accomplished by David Salle, Francesco Clemente, and recently Tracy Emin, who has developed the attacking heart in the spectators' emotion. Sometime in the method of self-destruction, it is based on horror and shock, the method is explored by Demian Hirst and Jakes and Dinos Chapman. Their destructive styles stimulate ambivalent heart and destroy original sign of girl and animals.