• Korean Journal of Fisheries and Aquatic Sciences
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• v.27 no.5
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• pp.643-658
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• 1994

The sedimentary records of anthropogenic metal loads in the Suyeong Bay, Pusan were determined by combining the Pb-210 dating technique with the measurements of heavy metals in the sediment cores. The sedimentation rates of sediment particles ranged from $0.12\;to\;0.20\;g/m^2/yr\;or\;2.4{\sim}4.0\;mm/yr$ in accumulation rates. The lowest sedimentation rate was observed at station S3 which was characterized by a bottom with relatively low organic matter contents(e.g. TIL and TOC). Heavy metals showed generally higher concentrations at station S1 and S2 near the mouth of the Suyeong River than at station S3 and the outmost station S4. The contents of copper, lead and zinc in the sediment cores especially from station S1 and S2 began to increase around 1930, and were at their highest levels in the $1960{\sim}1970$ period as a result of increasing industrial activities. Concentrations of these heavy metals have slightly decreased since 1970, probably due to regulation of pollution discharge. The natural background levels of copper, lead and zinc in the sediments of this bay ranged $18{\pm}4ppm,\;28{\pm}6ppm\;and\;74{\pm}9ppm$, respectively, by averaging the contents in the sediment depths corresponding to periods between about 1900 and 1920 at the four stations. The total amounts of anthropogenic loads deposited in the sediments since about 1930 were estimated to be $9{\sim}291{mu}g/cm^2$ for lead, $165{\sim}1122{mu}g/cm^2$ for zinc and $20{\sim}208{mu}g/cm^2$ for copper. These values were remarkably high at stations S1 and S2 relative to the other two stations. At stations S1 and S2, the anthropogenic loads of lead, copper and zinc constituted $29{\sim}30\%,\;32{\sim}42\%\;and\;28{\sim}35\%$ of the total sedimentary inventories at the present day, respectively. These metal contents have a good correlation(r>0.7) with each other and cadmium measurements also show a positive linear relation with nickel or total organic nitrogen.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.421-446
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• 2012

The purpose of this paper is to shed light onto the historical significance and limitations of the Tsukiji Little Theater's modern performances. The Tsukiji Little Theater holds a position of great importance to the history of both Japanese and Korean modern theater. Some, however, are under the completely opposite impression. There are also mixed opinions about whether the Tsukiji Little Theater is a "model example" of the modern theatrical movement or a "bad example". Based on this controversy, we look into the definitive characteristics of the Tsukiji Little Theater based mostly on "the controversy over translated foreign plays", "the controversy of foreign plays versus original plays", "the value of kabuki" and "Shinpa as a rival". This paper looked into the differences in controversy over translated foreign plays in the Tsukiji Little Theater and the controversy in existing translated foreign plays. It mostly looks at the "casuistry of foreign plays" and the "cultural engineering theory of foreign plays"to get a grasp on the controversy surrounding existing translated foreign plays. Meanwhile, the "internally critical meaning" towards the original plays of renowned writers was strong in the controversy of foreign plays in the Tsukiji Little Theater. Kaoru Osanai defined the 1920s as a dark period, and persisted that because of the activity of the Shingeki movement, foreign plays were needed instead of low-level original plays. This study examines the characteristics of original plays and foreign plays publicly performed at the Tsukiji Little Theater to analyze the "controversy of translated foreign plays versus original plays". The Tsukiji Little Theater mostly put on shows with a strong sense of resistance or that defied the old times. This caused there to be a lot of emphasis put on the rebellious mindset towards old conventions and ideologies for most of the plays, both foreign and original, and the problem arises that little mind was paid to the integrity or beauty of the works. In looking at the "value of kabuki", this paper looked into Kaoru Osanai, who was deeply involved in kabuki actors. He evaluated traditional Japanese arts highly not because of the literary value of their scripts, but because he recognized the value of how they were performed. In order to create a new spectacle, music, dance and mime was taken in from countries around the world, and kabuki was regarded highly as a means of expression on stage. Finally, we also examine the recognized reasons for treating Shinpa as a rival. There is a relationship between these reasons and a complex about the audiences they drew. The Shinpa performances always had many spectators and were successful, but those at the Tsukiji Little Theater were so unpopular with the public that it was hard for them to financially run their theater group. The empty seats in their theater constantly made the modern intellectuals in the Shingeki movement feel inferior.

• Journal of the Korean Home Economics Association
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• v.8 no.1
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• pp.62-86
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• 1970

A study on the upper garment of Korean women, JUORI The upper garment of Korean women. JUGORI, is an inherited mode from the ancient clothing style in the various aspects based on the particulars of Korean clothes. The ancient style of clothes is originated from KWAMDUI belonging to inhabitants of Northern Territory of Korea. And it is quite different from Chinese clothes in lineage. However, this unicque mode of clothes has been much influnced by the Chinese culture and also by the climate of Korea. And it is quite different from Chinese clothes in lineage. However, this unicque mode of clothes has been much influnced by the Chinese culture and also by the climate of Korean penynsula. The changes of the pattern of JUGORI, in a word, is a sign of shortening tendency of size. This tendency of JUGORI is remarkably seen in the shortening of length and other parts are decreased in size. The JUGORI in the ancient age was fallen below the weist of woman, which is similar to Robe, and was worn with band. However, the length of the JUGORI has been gradually shortened, and therefore, GORUM took place of the band. The shortening tendency of JUGORI is seemed to be shown its sign in the initial time of its origin, because there are some evidences that the women in Sylla Dynasty, and this tendency has been much expedited during the period of Koryu Dynasty with influences of Monggorian culture (Won Lynasty of China) The oldest sample for data of JUGORI in nowaday is one the remains of Yi Dynasty, and this sample for data provides all the particulars of the modern pattern of JUGORI. The tendency of JUGORI had been continued even in Yi Dynasty, and at the end of the Dynasty, the clothes was shortened that the women felt inconvenient wearing it in the status of the shortened JUGORI which was even hardly cover the initial time of epoch of modernization induced from the Western civilization, and after 1920s and 1930s JUGORI become a larger tendency. This is a sing of revival of practical use and rationalization of JUGORI become a shortening tendency again, and the size is similar with that of early age of Yi Dynasty. Instead of these similarities, the particulars of modern JUGORI is weighing on much emphasis on curve beauty and expression of experior beauty. The reason is that, together with westernization of clothes, JUGORI became a special pattern of clothes as a traditional Korean women wears. The very thing explaining this pattern of JUGORI is the "ARIRANG DRESS". And there are some fashion using button instead of GORUM and half sleeve JUGORI for summer use which is regarded as a part of improved aspect of life in Korea. in Korea.

• The Journal of Korean Philosophical History
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• no.50
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• pp.171-200
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• 2016

The full-scaled study of Joseon conducted by Japan in the 1910s was part of its colonial policy, while the native Joseon studies against it contained political aspiration to recover the national rights and independence. Accordingly, the conceptual meaning of 'Joseon' varied according to its subject of speech. The establishment of modern nation-state failed along with the extinction of Korean Empire, but 'Joseon' was newly discovered within national ideology. It became a historical concept in which the experience of the past and the expectation toward the future could be united. The so-called 'Joseon Studies' was only limited to intellectuals in the academic circle, but 'Joseon' embraced the articulations from more various social agents. Furthermore, it is only natural that 'Joseon Studies' should be interpreted within the historical semantics of 'Joseon', considering the connection between concept and discourse. In his The History of Joseon Civilization, An Hwak encompassed the history from the times of ancient mythology to the contemporary times under the banner of 'Joseon'. Opposing Japanese distortion of history carried out in the name of historical positivism, he idealized Joseon history as comparable to that of the Western democracy. He extended the study of 'Joseon' into culture at large, foreshadowing a kind of Joseon philosophy. In his An Overview of Joseon Philosophical Ideas, the first description of 'Joseon philosophy' as an independent field, he proposed philosophy as one of three sources of pride in Joseon and asserted its uniqueness and originality compared to the West. It was an attempt to grasp the peculiarity of Joseon ideas from a perspective of the history of universal human civilization. He considered 'Jong'(倧) as an ideological foundation held from the ancient to the modern times, and the acceptance of Buddhism and Confucianism as beneficial to 'Joseon philosophy'. The birth of 'Joseon philosophy', the modern transformation of the traditional knowledge system, was an intellectual experiment to apply traditional knowledge to the modern disciplinary classification system.

• Journal of the Korean earth science society
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• v.37 no.4
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• pp.187-199
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• 2016

The purpose of this study is to investigate the formation mechanism of landspout by using the Cloud Resolving Storm Simulator (CReSS). The landspout occurred over Ilsan, Goyang City, the Republic of Korea on June 10, 2014 with the damage of a private property. In synoptic environment, a cold dry air on the upper layers of the atmosphere, and there was an advection with warm and humid air in the lower atmosphere. Temperature differences between upper and lower layers resulted in thermal instability. The storm began to arise at 1920 KST and reached the mature stage in ten minutes. The cloud top height was estimated at 9 km and the hook echo was appeared at the rear of a storm in simulation result. Model results showed that the downburst was generated in the developed storm over the Ilsan area. This downburst caused the horizontal flow when it diverged near the surface. The horizontal flow was switched to updraft at the rear of storm, and the rear-flank downdrafts (RFDs) current occurred from simulation result. The RFDs took down the vertical flow to the surface. After then, the vertical vorticity could be generated on the surface in simulation result. Subsequently, the vertical vorticity was stretched to form a landspout. The cyclonic vorticity of echo hook from simulation was greater than $3{\times}10^{-2}s^{-1}$(height of 360 m) and landspout diameter was estimated at 1 km.

• The Journal of the Convergence on Culture Technology
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• v.1 no.2
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• pp.1-19
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• 2015

The history of modernization of Korea is divided into two folds of the colonial era in the 20's and the economic development era in the 60's. Most of the spaces built in the process of modernization were public spaces developed by the drive of the government. These spaces of modernization are functionality-oriented public places of production and at the same time, and they are the spaces of national power to symbolize the identity of national authorities. Along with changes in the society, modern spaces were reduced down to monument buildings without functionality and this requires new definition to renew the identity of modern spaces. Small stations, power plants, mines, warehouses, abandoned factories, and etc... the study has paid attention to the process of changing thought, one of the main characteristics of modernization, the relations of modern concepts projected in the spaces, framework of modern society, and placeness in the process of framework building and relations of people in the spaces with video records on the process of rebuilding new identity of modern spaces and memories of the spaces. The relations of modern spaces and memory were explored in < Seoul Station > while the relations between modern spaces and records and place identity were explored in < Onyang Folk Museum > and < Okpo Shipyard > respectively. In the relations between space identity and memory in each space, the ironic relations of power in modern spaces (placeness) and personal narrative (memories) were explored with oral narrative and video footage.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.2
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• pp.69-76
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• 2017

The following summarizes the findings from an analysis of literature and 21 versions of the Bible published in Korea, China, and Japan to discuss the name of Myrtus communis. Myrtus communis was an important tree symbolizing love and resurrection since the Ancient Mesopotamia, Egypt, Judas, Greece, Ancient Rome, and Medieval Spain. In the Bible, Myrtus ($h{\acute{a}}das$) was used to make the booths at the Feast of Tabernacles or for various ceremonies. Myrtus symbolized the people of Israel and also symbolized peace, appreciation, indestructibility, and resurrection. In the Bible of Korea, China, and Japan, Myrtus was translated into various names by time, such as '崗拈樹', '千里香', '鳥拈', '番石榴', 桃金孃, Gamtangnamu, Seoglyunamu, Hwaseoglyu, Sogwinamu. 'Myrtle' was translated into '桃金孃' based on Japan's "熟語本位 英和中?典(1915)" and it seems that the mistake was directly excerpted by the English-Korean Dictionary(1949) after the Liberation. According to the theory of 'Dynamic Equivalence' in translation, it would be best to use 'Myrtus' was the official name of Myrtus communis.

• Journal of the Institute of Electronics Engineers of Korea SD
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• v.45 no.11
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• pp.71-76
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• 2008

H.264(or MPEG-4/AVC pt.10) is a high performance video coding standard, and is widely used. Variable length code (VLC) of the H.264 standard compresses data using the statistical distribution of values. A decoder parses the compressed bit stream and searches decoded values in lookup tables, and the decoding process is not easy to implement by hardware. We propose an architecture of variable length decoder(VLD) for the H.264 baseline profile(BP) L4. The CAVLD decodes syntax elements using the combination of arithmetic units and lookup tables for the optimized hardware architecture. A barral shifter and a first 1's detector parse NAL bit stream, and are shared by Exp-Golomb decoder and CAVLD. A FIFO memory between CAVLD and the reorder unit and a buffer at the output of the reorder unit eliminate the bottleneck of data stream. The proposed VLD is designed using Verilog-HDL and is implemented using an FPGA. The synthesis result using a 0.18um standard CMOS technology shows that the gate count is 22,604 and the decoder can process HD($1920{\times}1080$) video at 120MHz.

• Korean Journal of Construction Engineering and Management
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• v.11 no.1
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• pp.59-69
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• 2010

Although international construction market gradually takes a important position among the export industries, the previous studies about international construction entry strategy have just focussed on trend investigation or suggestion for revitalization. Moreover, in order to prepare the market uncertainty such as world financial crisis and to plan the long term strategy, specific strategy studies based on corporate level are required. Therefore, this study estimates the nine strategic index and four financial index of 31 companies that performed 1920 international projects from 1993 to 2007 and evaluate the performance as three periods by multi-regression analysis. Also, this study analyze dynamic correlation between these index and the performance considering times. this study verifies that market diversification, product diversification, localization and decrease of debt to asset ratio make a good effect on the international order as long term strategy and shows that collaborated entry with domestic corporations, alliance entry with host country's company, alliance entry with third country's company, portion of labor cost and portion of management expense differently make a influence on the performance as times. these results will be helpful for the construction companies to plan the international entry strategy reasonably and specifically.

• 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.