• Journal of architectural history
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• v.8 no.1 s.18
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• pp.63-80
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• 1999

Poet, Yi-sang, born in 1910, originally studied architecture in Kyeong Sung High Technical School. He also experienced an architectural practice in Chosun Chongdokbu (the Government office of Japanese empire in Korea) during 4 years. After resigned the post of architectural engineer in 1933, he became a man of letters. Until his death in 1937, he published the writings hard to understand, which remind us of the works of western avant-garde. Because of the peculiarity and difficulty of his poem and novels, he becomes the object of studies by many critics and historians of literature. And he is estimated as the representative of Korean modernism. This study tries to related Yi-sang's early poems to architectural discourse for the search of 'modernity' of Korean modern architecture. His early poems, which is published in from 1931 to 1933, are worthy of notice because they contained a acute shock derived from radically changed spacial structure, the absolute emptiness of the individual happened in the 1930's Seoul. They also show a different attitude from the writings of Park Dongjin and Park Kilryong, the architects contemporary with Yi-Sang. Compared with their writings, Yi sang's early poems had an insight into the totality of modern culture like western avant-gardes. Therefore Yi-sang's early poems can give us a good base to understand the characteristics of 'modernity' of Korean architecture.

• The Journal of the Convergence on Culture Technology
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• v.5 no.4
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• pp.29-36
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• 2019

Lee Sang's poems and his portraits are being used in various video media. Depending on the characteristics of the medium and genre, the representation of the poet or higher and his poems are selected and variations in different ways. In a modern era where literature communicates with various media, reviewing how a poet's portrait is shaped is also the process of reading what text wants to convey to the public through a single person. This study examined aspects in which representations of poets or higher were utilized in various image media, and compared and analyzed how poet aberrations are represented in each text. In particular, the discussion centered on the movie and the drama . In the movie , the above poem is used as a hidden puzzle. The film uses the popularly known 'genius' representation to track down Yi Sang's secret. Because of this, the film represents its ideal in a way that is faithful to the genre's custom of Thriller In comparison, the drama was about to re-emerge as a young man with a passion for the inner workings. The cynical attitude shown in the above text is also a reflection of the love for the nation and the times. These different typographical methods are worth noting in terms of the literary man's public perception of "Yi-sang" and the strategy of the new portrait attempt.

• Lingua Humanitatis
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• v.1 no.1
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• pp.159-183
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• 2001

This paper surveys the meaning of the pen name ′Yi Sang(李箱)′ in the light of the arbitariness of language and the relationship among names, observing in three ways how the images of ′Sang′ (Box) appear differently in his works. In Particular, we look into (1) the relationship between a box and its inner boxes, (2) the divisional relationship in the box, and (3) the relationship between the box and an outer box. In Yi Sang′s work, image (1) gives shape to the relationship between the writer himself and his ancestors who are responsible for his present existence. Image (2) gives shape to two internally divided Yi Sangs, and is symbolized as a mirror that reflects two selves. Image (3) gives shape to a relationship between himself in the closed world and other people and/or a bigger outside world. All these symbolic relationships are fully represented in his work "Nalgae" (The Wing)". What is interesting is that Yi Sang has already employed these box images in his earlier poetry "Geonchuk-muhan-yukmyeon-gaucho" (Infinite Architectural Hexagon). furthermore, by visualizing his name as a sqaure($\square$), he means to suggest the intentional image of his pen name as a ′box′.

• (The)Study of the Eastern Classic
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• no.36
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• pp.229-264
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• 2009

This paper aims for a study on the theory that mind is Li(principle). The method of research is laid emphasis on searching for the historical development of the perception Theory in late Cho-Sun. First of all, I investigated a meaning of the perception theories of Ho-Rak school, that were criticized in the Cho-Sun academic world. The next, I investigated the theory of Li-ju-Ki-ja that was raised by Yi Sang Jung. He thought that Li is supervisor and Ki is assistance. And he put a construction on the Perception Theories of Toegye school. Yi Jin sang's theory of perception is the result of criticism against Ho-Rak school, and a fresh and in-depth construction of Yi Sang Jung's perception theory. His viewpoint was contradiction to the theory of Sim si Ki(the theory that Mind is made of Ki). And he rediscovered the human conscience that was born endowed from Heaven.

• Journal of the Korean Society of Costume
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• v.58 no.7
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• pp.60-75
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• 2008

A history of Chinese Costume is that of the accept and the struggle between the 'Shen- Yi' of Han(漢) race and 'Ho-Bok' of foreign races. There are the 'Shen-Yi Ko' and the 'Ho-Bok Ko' in their representative documentary. They are quite significant materials for the researchers of the Oriental costume. The purpose of this study about comparing and analyzing the 'Shen-Yi Ko' and the 'Ho-Bok Ko' give a guidance to Chinese costume's researchers. The results of study are as follows: The 'Shen-Yi', having made a dress joined an upper to the low clothing together(上衣下裳) and deeply covered the parts of all the bodies, was named, had appeared the Spring-Autumn & warring state period(春秋戰國時代) and later the former Han Dynasty(前漢). Not only everyone in spite of men and women, without distinction of rank, high and low alike but also even the court dress(朝服) and from latter Han Dynasty(後漢) only the housewives could have worn it. The 'Shen- Yi Ko' disappeared its records and remains and at present nothing leave behind. The 'Ho-Bok' is a costume of the nomadic horse-riding people among the foreign races, then influenced upon the Chinese costume. The style of the Chinese costume consists of 'Yi Sang'(衣裳) and the 'Ho-bok' of foreign races, 'Yi Ko'(衣袴). The 'Yi Ko'((衣袴), derived from the King Muryoung of Cho Dynasty, had greatly been changed the chinese men's clothing and After that 'Ko Sup'(袴褶). The Chinese have enjoyably and familiarly the accepted 'Ho Bok' for a long time.

• Archives of design research
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• v.9
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• pp.601-616
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• 1994

avant garde poet Yi Sang wrote his poetry with architectural and artistic inspirations. his artistic creativity was exploded by typographic expression. he lirerated the !iterated word into visible language also. he played with his-own-created-signs. fighted against the reality, traditions and cliches. his typographic characteristic poetry is an evidence for the lengthening the history of korean modern typography as a pioneer. because his experimental works is the great evident. so we evaluated the worth of it.

• The Journal of Korean Obstetrics and Gynecology
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• v.29 no.4
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• pp.13-23
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• 2016

Objectives: This study reports the effects of HongYi (Formica yessensis) pharmacopuncture on the women voiding dysfunction patients. Methods: The women patients who complain of voiding dysfunction were treated with HongYi pharmacopuncture for ten times. We measured the international prostate symptom score (IPSS) for five times and analyzed. Results: After treatment with HongYi pharmacopuncture for ten times, the IPSS was improved in all of the patients. Complaints of voiding dysfunction was reduced and other symptoms also improved. Conclusions: HongYi pharmacopuncture is effective on women patients complaining of urinary disturbance.

• 대한예방의학회:학술대회논문집
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• 2002.10a
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• pp.378-379
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• 2002

• Journal for History of Mathematics
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• v.18 no.3
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• pp.39-54
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• 2005

In Chinese Mathematics, Jia Xian(要憲) introduced Zeng cheng kai fang fa(增乘開方法) to get approximations of solutions of Polynomial equations which is a generalization of square roots and cube roots in Jiu zhang suan shu. The synthetic divisions in Zeng cheng kai fang fa give ise to two concepts of Fan il(飜積) and Yi il(益積) which were extensively used in Chosun Dynasty Mathematics. We first study their history in China and Chosun Dynasty and then investigate the historical fact that Chosun mathematicians Nam Byung Gil(南秉吉) and Lee Sang Hyuk(李尙爀) obtained the sufficient conditions for Fan il and Yi il for quadratic equations and proved them in the middle of 19th century.

• Journal of the Korean Institute of Educational Facilities
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• v.12 no.2
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• pp.66-88
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• 2005