• 유학연구
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• v.49
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• pp.265-290
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• 2019

This paper examined the understanding of the laws and punishments of Zhu Xi School. Zhu Xi of Nan-song(南宋) is a scholar who influenced many later East Asian countries, including Joseon. When limited to Joseon, various academic and political thought used Zhu Xi's interpretation as a standard. Thus it is necessary to study Zhu Xi's thought of law to comprehend the Confucian countries. However, there are a few previous studies that deal with the legal ideas of Zhu Xi. In order to understand Zhu Xi's perception of the law, this paper will analyze the Book of History(書經) as a central text. The Book of History describes the system and the law of ancient China. It also deals with the origin and development of punishment and legislation, unlike other scriptures. However, Zhu Xi died before he finished his work, making a footnote of the Book of History. Following his work, Cai Shen(蔡沈) completed the interpretation of the Book of History. Therefore, it would be natural to think Zhu Xi and Cai Shen were in continuity. This paper figures out the recognition of Zhu Xi School on punishment and law by organizing the history of punishment and law in the Book of History. Furthermore, analyzes other papers of Zhu xi to know his perception of law and punishment.

• Journal of Korean Classical Literature and Education
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• no.33
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• pp.121-152
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• 2016

The purpose of this study is to illustrate the history of the Cheonsu-Temple天壽寺 and to describe the echo verse poem trend with regard to 'Waiting'待人 and why it is beautiful. The Cheonsu-Temple was located in the outskirts of Gaesung開城, the capital city during the Corea高麗 Dynasty. However, the temple was destroyed when the dynasty collapsed. Cheonsu-Station天壽院 was built amidst the temple ruins, as the temple was an important traffic point. The Cheonsu-Pavilion天水亭 was built in 1476 by Yi-Ye李芮 in the station's neighborhood. The station and the pavilion were completely ruined during the 17th century. Many poets visited the Cheonsu-Temple and composed poems in the latter part of the Corea Dynasty. 'Waiting'待人, written by Choi-Sarip崔斯立, -is the most famous work. Following this work, many poets composed echo verse poems 'Waiting' work that represented the anxiety of waiting for an old friend in front of the Cheonsu-Temple. The following is a highlighted verse: So many people who look like the old friend come to me, but it turned out no one was the man. This work is very picturesque. Over twenty echo verse poems 'Waiting' are categorized in three periods. They compared the "present" to the past by using the Zhenglingwei丁令威 origin from the former Joseon朝鮮 period. In the middle of Joseon period, Jungjong中宗 visited Cheonsu-Station and composed an echo verse poem 'Waiting'. The official literaries also composed poems there. In their works, they presented the collapse of the Corea Dynasty as inevitable and the construction of Joseon Dynasty as something reasonable. Cheonsu-Station was ruined in 17th century, followed after by the ruin of the Cheonsu-Pavilion. It appears that the echo verse poems to 'Waiting' in the latter Joseon period represented the ruin of the Cheonsu-Temple, the Cheonsu-Station, and the Cheonsu-Pavilion.

• The Research Journal of the Costume Culture
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• v.3 no.2
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• pp.241-260
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• 1995

The Maori's traditional clothing materials, basic forms of dress, and the pattern and technique of tatoo were examined in the present study in order to deepen the appreciation of the cultural heritage of the Maori. The research method employed was the analysis of written materials. And a fild-trip was also made for the study. The study was limitted to the traditional culture of body adornment of the Maori including the clothing which is preserved and practicing by them at the present day, and the origin and the process of the historical development of those are not included in the scope of the present study. Followings are the results of the study: (1) By far the most widely used fiber for Maori clothing is abtained from what is commonly called New Zealand Flax. The fiber of kiekie(Freycinetia baueriana) and cabbage trees(Cordyline spp.) may also be used. The strong, long-lasting fiber of toi(cordyline indivisa) is used for a prestige warrior's cloak. Flat strips of ti kauka(Cordyline australi) are also used as thatch on rain cloaks. (2) Regardless of technique used, Maori weaving is always worked horizontally from left to right. Traditionally the work was suspended between two upright turuturu or weaving sticks. As the work progressed a second pair of uprights was used to keep the work off the ground. These uprights were moved forward as required. Because the weaver sat on the ground, the working edge was kept at a height that was comfortable to reach. No weaving tools are used, the wefts(aho) being manipulated by the fingers. The two main Maori weaving techniques are whatu aho patahi(single-pair twining) and whatu aho rua(double-pair twining). (3) The Maori wore two basic garments - a waist met and a cloak. The cloth of commoners were of plain manufacture, while those of people of rank were superior, sometimes being decorated with feather or dyed tags and decorated borders. Children ran more-or-less naked until puberty, being dressed only for special events. Some working dress consisted of nothing more than belts with leaves thrust under them. Chiefs and commoners usually went barefoot, using rough sandals on journeys over rough country (4) The adornment of men and women of rank was an important matter of tribal concern as it was in chiefly persons that prestige of the group was centred, The durable items of Maori persons adornment were either worn or carried. Ornaments of various kinds were draped about the neck or suspended from pierced earlobes. Combs decorated the head. Personal decorations not only enhanced the appearance of men and women, but many had protective magical function. The most evident personal ornament was the hei-tiki made of jade or other material. Maori weapons were treasured by their owners. They served on bottle and were also personal regalia. A man of rank was not fully dressed without a weapon in hand. Also weapons were essential to effective oratory. (5) No man or woman of rank went without some tattoo adornment except in extremely rare instances when a person was too sacred to have any blood shed. The untattooed were marked as beeing commoners of no social standing. This indelible mark of rank was begun, with appropriate rite and ritual, at puberty. And tattoo marked the person as being of a marriageable age. Maori tattoo was unlike most traditional tattoo in that its main line were 'engraved' on the face with deep cuts made by miniature bone chisels. The fill-in areas were not tattooed with cuts but with the multiple pricks of small bone 'combs' that only lightly penetrated the skin surface. The instrument of tattoo consisted of small pots of pumice or wood into which was placed a wetted black pigment made from burnt kauri gum, burnt vegetable caterpillars or other sooty materials. A bird bone chisel or comb set at right angles on a short wooden handle was dipped into the gigment, that a rod or stick was used to tap head of this miniature adze, causing penetration of the skin surface. Black pigment lodged under the skin took on a bluish tinge. A full made facial tattoo consisted of major spirals with smaller spirals on each side of the nose and sweeping curved lines radiating out from between the brows over the forehead and from the nose to the chin. The major patterns were cut deep, while the secondary koru patterns were lightly pricked into the skin.

• Journal of architectural history
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• v.19 no.3
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• pp.7-29
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• 2010

The form of the Wangheungsa Temple's wooden pagoda site is that of the traditional form of the wooden pagodas constructed during the Baekjae Period. Likewise, it is an important ruin for conducting research on the form and type of the wooden pagodas constructed during the Baekjae Period. In particular, the method used for the installation of the central pillar's cornerstone is a new technique. The purpose of this research is to restore the ruin of the Wangheungsa Temple's wooden pagoda of the Baekjae Period that remains at the Wangheungsa Temple's wooden pagoda site. Until now, research conducted on the wooden pagoda took place mostly centered on the Hwangryongsa Temple's wooden pagoda. Meanwhile, the reality concerning Baekjae's wooden pagoda is one in which there were not many parallel cases pertain to the design for restoration. This research paper wants to conduct academic examination of the Wangheungsa Temple's wooden pagoda to organize the intention of design and design process in a simple manner. This research included review of the Baekjae Period's wooden pagoda related ruins and the review of the existing wooden pagoda ruin to analyze the wooden pagoda construction technique of the era. Then, current status of the Wangheungsa Temple's wooden pagoda site is identified to define the characteristics of the wooden pagoda, and to set up the layout format and the measure to estimate the size of the wooden pagoda in order to design each part. Ultimately, techniques and formats used for the restoration of the wooden pagoda were aligned with the wooden pagoda of the Baekjae Period. Basically, conditions that can be traced from the current status of the Wangheungsa Temple site excavation using the primary standards as the standard. Wangheungsa Temple's wooden pagoda was designed into the wooden pagoda of the Baekjae's prosperity phase. The plane was formed into $3{\times}3$ compartments to design into three tier pagoda. The height was decided by factoring in the distance between the East-West corridors, size of the compartment in the middle, and the view that is visible from above the terrace when entering into the waterway. Basically, the origin of the wooden structure format is based on the Goguryeo style, but also the linkage with China's southern regional styles and Japan's ancient wooden pagoda methods was factored in. As for the format of the central pillar, it looks as if the column that was erected after digging the ground was used when setting up the columns in the beginning. During the actual construction work of the wooden pagoda, central pillar looks as if it was erected by setting up the cornerstone on the ground. The reason that the reclaimed part of pillar that use the underground central cornerstone as the support was not utilized, was because the Eccentric Load of the central pillar's cornerstone was factored in the state of the layers of soil piled up one layer at a time that is repeated with the yellow clay and sandy clay and the yellow clay that were formed separately with the $80cm{\times}80cm$ angle at the upper part of the central pillar's cornerstone was factored in as well. Thus, it was presumed that the central pillar was erected in the actual design using the ground style format. It is possible to presume the cases in which the reclaimed part of pillar were used when constructed for the first time, but in which central pillar was installed later on, after the supplementary materials of the underground column is corroded. In this case, however, technique in which soil is piled up one layer at a time to lay down the foundation of a building structure cannot be the method used in that period, and the reclamation cannot fill up using the $80cm{\times}80cm$ angle. Thus, it was presumed that the layers of soil for building structure's foundation was solidified properly on top of the central pillar's cornerstone when the first wooden pagoda construction work was taking place, and that the ground style central pillar was erected on its upper part by placing the cornerstone once again. Wangheungsa Temple's wooden pagoda is significant from the structure development aspect of the Korean wooden pagodas along with the Hwangryongsa Temple's wooden pagoda. Wangheungsa Temple's wooden pagoda construction technique which was developed during the prosperity phase of the Baekjae Period is presumed to have served as a role model for the construction of the Iksan Mireuksa Temple's wooden pagoda and Hwangryongsa Temple's wooden pagoda. With the plan to complement the work further by excavating more, the basic wooden pagoda model was set up for this research. Wangheungsa Temple's wooden pagoda was constructed as at the Baekjae Kingdom wide initiative, and it was the starting point for the construction of superb pagoda using state of the art construction techniques of the era during the Baekjae's prosperous years, amidst the utmost interest of all the Baekjae populace. Starting out from its inherent nature of enshrining Sakyamuni's ashes, it served as the model that represented the unity of all the Baekjae populace and the spirit of the Baekjae people. It interpreted these in the most mature manner on the Korean peninsula at the time.

• The Journal of Art Theory & Practice
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• no.7
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• pp.37-64
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• 2009

The theories of Korean Public Art originated by the artists who were against dictatorship and they associated with democratic politicians. They criticized the Fine art that were supported by the dictatorship and gave their efforts for restoration of 'resistance paintings(against dictatorship)', 'proletarian painting', 'realism painting'. In addition, they participated new social ideology(democracy) movement and demonstrated for their rights in arts. These became the main kernel the public art theory was initiated. The public artists splitted into several different parts and participated in the democratic social movement as well as the art movement for freedom. They opened various art exhibitions within different genre, diverse space for various art section such as an exhibition hall, a factories, a university, or a congregation square. Furthermore, the public art theorists published their divergent views through newspaper/broadcasting or unauthorized printed materials. Most of the public artist and the theorists kept their relationship strongly until 1985, the time when 'National Arts Association' started. In 1983 and 1984, they were clearly separated into two parts; artists(move only in art museums) and activists(move in public spaces like school, convention square etc). Their ideological separation also took out national problems. The division; professional artists and armatures, became the social issue as a social stratification matter. And in creating method, there are also other conflicts; critical realism, and public realism as well as western painting and traditional one. These kinds of separation and conflicts made different Public artists associations, under divergent names; 'Reality and Speak'(R&S), 'KwangJu Art Association', 'Durung', 'Dang(Land)', and 'Local Youth Students Association'. In addition, their ideology and pursuit toward art movements were very difference. However, the differences and conflicts weakened When the oppression of democratic education from new dictatorship(Pres. Jun, Doo Hwan) came out. In August. 1985 the government opened to the public so called, 'The draft of School stabilization law'(Hankwon Anjung Bup) to control the teachers' rights and that initiated bigger street demonstration and conflicts between police and educators. In November.1985, assembly meeting of National Arts Association in democracy opened as 'ONE' combined organization. In this presentation, I'd like to summarize the stream of art movement until 1984, and clarify the main art theories that lead the Public Art Movements in 1980s. The main theories in 1980s are crucial because they become the origin of public art theories. This presentation started with O,youn's "Hyunsil Dong In the first declaration" and explained the absent of practice in 1970s. In addition, Won, Dong Suk 's theory was mentioned as all over struggles in theories before 1980s. GA and R&S 's founding declarations in 1970s were the start of public art theorists' activities and this article reported the activities after the declarations. First, realism base on the consciousness of reality. Second, practice art democratization based on the ideology. Third, the subject of public art movement based on understanding people's social stratification structure. Fourth, the matters of national forms and creative ways in arts based on showing reality. Fifth, the strong points in arts that the practitioners accepted. About the public art theories around 1984, I discussed the dividing point of public art theories that were shown in 'generation theory', 'organization theory', and 'popularization theory' by the practitioners. The public realism theory that subjects the contradiction of reality and point out the limits of critical realism not only showing the new creative ways but also giving the feeling of solidarity to the public art activist groups. After that, public art movements expressed 'Dismentlement of Capitalism' and 'Public revolution'. In addition, the direction of public art movements were established strongly. There were various opinions and views during the start and formation of the public art theories. The foundation of theorists activities derived from the practitioners who had the concept based on stratification and nationalism. The strong trend of group division spreaded out by practitioners who opened art work together in factories, universities, squares and rural areas. Now many lively active practitioners are gone to the other field not related with arts, and others join into professional art field not public art one with unknown reason. The theorists have the same situation with the practitioners. It means to me that theory always have to be based on the practice.

• The Korean Journal of Archival Studies
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• no.24
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• pp.113-171
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• 2010

The purpose of this study was to examine the characteristics of Seoul Olympic Organizing Committee's official documents. To conduct this work, the fundamental of producing archives were examined by analyzing structure and management of Seoul Olympic Organizing Committee and structure of official document production. After all, simultaneous and synthesis characteristics of Seoul Olympic Organizing Committee's official documents were presented through overall analysis of production fundamental and relationship between their management and remained archives. The result of this study are as follows. Firstly, The Organizing Committee had bicameral organizational structure and matrix organizational format consisting of functional department and project department. Indicating the institutions and development phase of decision making in the committee, most of institutions were in name only. Also, there were many problems occurred in the procedure of decision making since the president of committee exercised all of the authorities. Secondly, It was found that existing official documents of the committee were partial and caused fragment phenomenon and severe situations because of unsystematic archival management department and regulations. Moreover, as the result of investigating production procedure and management of official documents, procedure of production, distribution, preservation and abolition of them were specifically verified. Thirdly, It was verified that the official documents were abolished arbitrarily because of unsystematic archival management department and insufficient regulations. For the actual condition of management, filing or description activity which is essential measure for using and utilizing the official documents has not been conducted yet. Based on these facts, the characteristics of Seoul Olympic Organizing Committee's official documents can be referred as follows. The official archives of the committee have multiplicity of the origin and severe fragment phenomenon damaging the origin and the elementary substance of the archives. Also, the format of existing archives was unbalance. Besides, there was not enough related research since they were in adverse situation to utilize them as the archives which are not assessed or not arranged. Thus, it was hard to grasp the utility value at present and future, and was also limited for usage object.

• Journal of Korean Society of Environmental Engineers
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• v.33 no.6
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• pp.439-446
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• 2011

In this research, enhanced land-cover classification methods using high-resolution satellite image (HRSI) and GIS in terms of practicality and accuracy was proposed. It aims for understanding non-point pollutant origin/loading, assessment the efficiency of rainfall storage/infiltration facilities and sounds water-environment management. The result of applying enhanced land-cover classification methods to the urban region verifies that roof and road area are including various vegetations such as roof garden, flower bed in the median strip and street tree. This accounts for 3% of total study area, and more importantly it was counted as impervious area by GIS alone or conventional indoor work. The feasibility of the method was assessed by applying to rainfall-runoff analysis for three weak rainfall in the range of 7.1-10.5 mm events in 2000, Chiba, Japan. A good agreement between simulated and observed runoff hydrograph was obtained. In comparison, the hydrograph simulated with land-use parameters by the detailed land-use information of 10m grid had an error between 31%~71%, while enhanced method showed 4% to 29%, and showed the improvement particularly for reproducing observed peak and recession flow rate of hydrograph in weak rainfall condition.

• Cartoon and Animation Studies
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• s.33
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• pp.55-78
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• 2013

The issues on the representation of digital images, the uncanny is not considered aesthetically but must be overcome. It seems that the future of visual media using digital images, depends on the development and advancement of the digital technology. However, the Brothers Quay regarded as unique and experimental animators, focus their attention towards the past rather than the future. They trace back to the origin of the media, reproducing, manipulating, and representing gestures in oder to restore the shock and thrill delivered in film and animation. The Brothers Quay explore the uncanny of gestures through the mechanism of medium. They work in a wide range of genres, from animation, live action to dance film. The creaking spasms, which create the feeling that the movement does not belong to this world, and the strange gestures, reveals the flicker of the still projection and make audiences recognize gestures in the true meaning of the word. While they animate live actors and dead objects like automata, the hidden desires are revealed over screen. In this paper, focusing on the works of Brothers Quay, I tried to explore the uncanny of gesture based on Freud's and Jentsch' theory of uncanny.

• The Journal of The Korea Institute of Intelligent Transport Systems
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• v.11 no.5
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• pp.38-45
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• 2012

Finding shortest paths on time dependent networks is an important task for scheduling and routing plan and real-time navigation system in ITS. In this research, one-to-one time dependent shortest path algorithms based on link flow speeds on urban networks are proposed. For this work, first we select three general shortest path algorithms such as Graph growth algorithm with two queues, Dijkstra's algorithm with approximate buckets and Dijkstra's algorithm with double buckets. These algorithms were developed to compute shortest distance paths from one node to all nodes in a network and have proven to be fast and efficient algorithms in real networks. These algorithms are extended to compute a time dependent shortest path from an origin node to a destination node in real urban networks. Three extended algorithms are implemented on a data set from real urban networks to test and evaluate three algorithms. A data set consists of 4 urban street networks for Anaheim, CA, Baltimore, MD, Chicago, IL, and Philadelphia, PA. Based on the computational results, among the three algorithms for TDSP, the extended Dijkstra's algorithm with double buckets is recommended to solve one-to-one time dependent shortest path for urban street networks.

• Cartoon and Animation Studies
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• s.37
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• pp.287-306
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• 2014

Human mind consists of what he or she knows, namely 'a portion of awareness', as well as of what he or she does not know, namely 'a portion of unawareness'.1) Self refers to both consciousness and unconsciousness, whereas self-growth seems to be an ability with which a human being appropriately faces with the hidden desire and resistance of unconsciousness for himself and maintains its balance and unification with consciousness harmoniously. On this account, examination on character's unconsciousness seems to be an important methodological means to prospect for the original looks of self, based on character's internal psychology, and to grasp the change and growth throughout the course. Study subjects, namely and , are quite similar in internal/external factors around the leading character. Two girl leading characters, who have nested in parental influences and boundaries, confront with unfamiliar circumstances under the abrupt absence of parents. In order to resist contradictory and irrational situations there and to restore all the things to its original places, both carry out a hard adventure. Interestingly, both characters are similar in their unconscious characteristics, but they take different channels for their journey, confronting attitudes and changes of internal self. The purpose of this study was to examine the concrete origin of two characters' unconsciousness and then comparatively analyze the role of leading character's unconsciousness in the drama and its effects on the whole work. Therefore, the author tried to prove such a hypothesis as the probability and persuasiveness of story could be found out through establishing a character of higher completion degree and connecting between situations and events that are most appropriate for character's internal unconscious psychology.