• The Sea:JOURNAL OF THE KOREAN SOCIETY OF OCEANOGRAPHY
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• v.4 no.2
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• pp.117-126
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• 1999

Hampyong Bay is a semienclosed and macrotidal bay which opens to the eastern Yellow Sea through a narrow inlet in the southwestern coast of Korea. In order to understand the tidal-flat sedimentation in the semienclosed setting, morphology, sediments, accumulation rate and sea cliff erosion were investigated in the tidal flat of Hampyong Bay. The tidal flat of Hampyong Bay lacks intertidal drainage systems, and generally shows the concave-upward profile whose relief is designated by marked morphological features such as high-tide beaches, intertidal sand shoals and tidal creeks. Surfacial sediments of the tidal flat mainly consist of mud, sandy mud, gravelly mud, gravelly sand and muddy gravel, thus showing the textural characteristics of multimodal grain-size distribution, poorly sorting and positive skewness. The sediments generally coarsen landward due to the increase in coarse fraction content. Sedimentary structures are deeply bioturbated, but parallel lamination and lenticular bedding are locally found in the mudflat near mean low water line. Annual accumulation rates across the tidal flat (along Line SM) average -5.2 cm/yr with a range of -45.8~+4.2 cm/yr, indicating that the tidal flat is erosional. In general, erosion rates of upper and lower tidal flat are higher than those of middle tidal flat. Seasonally, the erosion rates are much higher during spring and winter when dominant wind direction corresponds to the long axis of Hampyong Bay. Sea cliffs are eroded at a rate of 1.4 m/yr. The biggest sea cliff erosion generally occurs 1~2 months later after tidal flats were extensively eroded. Such erosions of tidal Oats and sea cliffs in the semienclosed bay setting are interpreted to be due to wind waves coupled with local sea-level rise.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.142-153
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• 2019

The Joseon Dynasty (1392-1910) left behind a wealth of documentary heritage, including collections of literary works, personal letters, and journals, as well as public documents such as Veritable Records of the Joseon Dynasty (Joseon Wangjo Sillok), Diaries of the Royal Secretariat (Seungjeongwon Ilgi), and State Protocols (Uigwe). Such heritage also includes personal diaries that have been highly regarded for their frank and vivid records of people's lives in the Joseon period. There have been great diaries published and intended for reading by the Korean public, including War Diaries (Nanjung Ilgi, 1592~1598) by Yi Sun-sin and Diaries of Jehol (Yeolha Ilgi, 1780) by Park Ji-won. Unfortunately, a great majority of these personal records remain unknown to the world. Such great records have not been given an opportunity to be documented properly, but are left outside public attention, abandoned to be damaged and destroyed. Few personal diaries of the Joseon period were written on good-quality paper. After the death of their authors, these diaries were left to be kept by their descendants; this explains why many of these records have been in poor condition, particularly when compared with the public records published by the government of Joseon, such as Sillok and Uigwe, even when these were lucky enough to be taken care of by the authors' descendants. Even after surviving a long time, many of these personal records remain in the form of manuscripts, written in semi-cursive and cursive scripts of Chinese characters, thus making it even more difficult for the people of the current generation -- most of whom have not been given an opportunity to learn Chinese characters at school -- to take care of their documentary heritage properly. Meanwhile, it is also true that, as the value of the public records published by the government of Joseon as historical materials has grown, they are used more often as content for TV dramas such as Daejanggeum. At the same time, there have been increasingly louder voices citing the need for the study, preservation, and management of the personal diaries from Joseon. Considering the situation, this study provides a general overview of the personal diaries of Joseon as recently surveyed by the National Research Institute of Cultural Heritage, as well as their characteristic features, subjects, and backgrounds. This study is expected to contribute to future research on the preservation and management of the personal diaries of Joseon.

• Journal of Gifted/Talented Education
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• v.16 no.1
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• pp.21-42
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• 2006

The object of this research is to analyze the contents and amount of articles on gifted education in major daily newspapers dated January 1990 to December 2003, and to review the trend of social perception of gifted education with the passage of time. Following are the research question : 1. How many articles belonging to the same category appeared in the newspapers within the period of time covered by the study? 2. What kinds of articles appeared in the newspapers within the period of time covered by the study? To arrive at the answers to the problems mentioned above, 714 articles on gifted education. The period from 1990 to 2003 were divided into time frames of 5 years to facilitate the analysis of social consciousness regarding gifted education before and after the enforcement of the Early School Entering Law in 1995 and the Law for Promotion of Gifted Education in 2000. The researcher defined Period I as the years from 1990 to 1994, Period II from 1995 to 1999, and Period III from 2000 to 2003. The articles were classified by content which were significance and trend of gilled education, current policies on gifted education, information on gifted education, and social environment of gifted education. The results of the analysis are as follows: (1) The articles from 1990 to 2003 totalled 714. 130 articles were found within Period I, 213 within Period II, and 371 within Period III. Since the year 2000, when the Law for Promotion of gifted education was enforced, the amount of articles considerably increased. The articles on the trend of gifted education numbered 42 within Period I, 49 within Period II, and 81 within Period III, showing a huge increase in the last period. The articles on current policies numbered 56 within Period I, 77 within Period II, and 143 within Period III, numbering the most in the last period. This means that, even before the Law for Promotion of gifted education was enforced, there has been much interest in and discussion of the appropriate educational system for gifted children in preparation for the legal and institutional foundation of such system. Since the enforcement of the law, many institutions were established and the problem became an important social issue. The articles that most frequently appeared were about current policies on and status of gifted education. This category showed the largest numbers through all the three periods and on all the subjects. This subject represented 43.1% of the articles on gifted children within Period I, 36.2% within Period II, and 38.6% within Period III. As to the significance and trend of gifted education, this subject showed a decrease from 32.3% within Period I, 23% within Period II, and 21.8% within Period III. However, the articles in the category of information on gifted education gradually increased from they represented 5.4% of the articles on brilliant children within Period I, 7.5% within Period II, and 8.4% within Period III. The social environment articles showed an increase from Period I to Period II-- from 19.2% to 33.3%, but it went down to 31.3% within Period III. (2) As to articles on the trend of gifted education, there were many such articles found, mainly on researches and trends in other countries. As greater importance is accorded to gifted children and as the recognition of the necessity of providing specific education for them grows, more related studies are conducted and people try to adopt new trends from other countries. For the articles on the current policies of gifted education, most of them were about institutions. This means that many educational institutions have been established since the Law for Promotion of Gifted Education was enforced. Informative articles on gilled education were mostly about distinctive features of gifted children and how to tell who the brilliant children are. This fact shows the importance of identifying gifted children in order to educate them systemically and effectively.

• Cartoon and Animation Studies
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• s.39
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• pp.451-472
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• 2015

Lian Huan Hua(連環畵) has occurred in the history of China Cartoon was initially developed as a unique literary style of Chinese painting and narrative combined. Also Lian Huan Hua are also tend to form once the fusion 1920s was also a very creative fashion cartoon style. This is also referred to as chain cartoon. In 1950-1960, China 's Lian Huan Hua also mature a 'golden age' legal group reaches to indicate the unique formal features developed independently. This work is a dramatic expression of Lian Huan Hua narrative, shows a more realistic representation techniques and art forms such as portraiture is a very big breakthrough was achieved artistic maturity of the work increased significantly. by He You Zhi(賀友直) and by Hau San Chuan(華三川) is a masterpiece of artistry and maturity in the period leading side. Chapter 2 looked at the origin and development of Chinese Lian Huan Hua, it was seen by the fact that China achieved new progress in Lian Huan Hua upset every time the combination of content and form, In addition, the work of 1950-1960 in the development process of China's Lian Huan Hua confirmed the fact that they won the biggest achievement in artistry and maturity surface. Therefore, Chapter 3 how 'golden age' masterpiece of and the dramatic narrative of expression by analyzing a specific angle in the multifaceted image of the , realistic portraiture, such as the acquisition of Chinese concrete artistry Lian Huan Hua I want to show. Analysis of the figures depicting nature, landscape screens. consisted of highlights and background and techniques of utilization, production methods. The purpose of this research work is to identify two conditions of great Lian Huan Hua through analysis of concrete work and painting techniques such as framing and directing the Lian Huan Hua's artistic achievements is to investigate the influence of China in the early comics. These two works are focused on a realistic view of life and put out was to create a more effective representation of information it attempts to pass a new production techniques and will have the significance. Also completed was a new style absorbed throughout the aesthetic advantages are compelling own personality writers of Eastern and Western paintings are remarkable in that its performance. But the difference in the two works represent all types and painting techniques has a the mood of common China's lives.

• Journal of Soil and Groundwater Environment
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• v.9 no.4
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• pp.42-51
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• 2004

Peat humin(p-Humin), humic acid(p-HA) and fulvic acid(p-FA) were isolated from Canadian Sphagnum peat moss by dissolution in 0.1M NaOH followed by acid precipitation. After purification cycles, they are characterized for their elemental compositions and, acid/base properties. Functionalities and carbon structures of the humic fractions were also characterized using FT-IR and solid state $^{13}C$-NMR spectroscopy. Those results are compared with one another and with soil humic substances from literatures. Main purpose of this study was to present a chemical and spectroscopic characterization data of humic substance from peat moss needed to evaluate its environmental applicability. The relative proportions of the p-Humin, p-HA and p-FA in the peat moss was $76\%,\;18\%,\;and\;3\%$, respectively, based on the total organic matter content ($957{\pm}32\;g/kg$). Elemental composition of p-Humin were found to be $C_{1.00}H_{1.52}O_{0.79}N_{0.01}$ and had higher H/C and (N+O)/C ratio compared to those of p-HA($C_{1.00}H_{1.09}O_{0.51}N_{0.02}$) and p-FA($C_{1.00}H_{1.08}O_{0.65}N_{0.01}$). Based on the analysis of pH titration data, there are two different types of acidic functional groups in the peat moss and its humic fractions and their proton exchange capacities(PEC, meq/g) were in the order p-FA(4.91) >p-HA(4.09) >p-Humin(2.38). IR spectroscopic results showed that the functionalities of the peat moss humic molecules are similar to those of soil humic substances, and carboxylic acid(-COOH) is main function group providing metal binding sites for Cd(II) sorption. Spectral features obtained from $^{13}C$-NMR indicated that peat moss humic molecules have rather lower degree of humification, and that important structural differences exist between p-Humin and soluble humic fractions(p-HA and p-FA).

• Korean Journal of Heritage: History & Science
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• v.54 no.4
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• pp.152-173
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• 2021

The Large Banner was introduced during the Japanese Invasions of Korea with a new military system. It was a flag that controlled the movement of soldiers in military training. In addition, it was used in other ways, such as a symbol when receiving a king in a military camp, a flag raised on the front of a royal procession, at the reception and dispatch of envoys, and at a local official's procession. The Large Banner was recognized as a symbol of military dignity and training rites. The Large Banner was analyzed in the present study in the context of two different types of decorations. Type I includes chungdogi, gakgi and moongi. Type II includes grand, medium, and small obangi, geumgogi and pyomigi. Each type is decorated differently for each purpose. The size of the flag is estimated to be a square of over 4 ja long in length. Flame edges were attached to one side and run up and down The Large Banner used the Five Direction Colors based on the traditional principles of Yin-Yang and Five Elements. The pattern of the Large Banner is largely distinguished by four. The pattern of large obangi consists of divine beasts symbolizing the Five Directions and a Taoism amulet letter. The pattern of medium obangi features spiritual generals that escort the Five Directions. The pattern of small obangi has the Eight Trigrams. The pattern of moongi consists of a tiger with wings that keeps a tight watch on the army's doors. As for historical sources of coloring for Large Banner production, the color-written copy named Gije, from the collection of the Osaka Prefect Library, was confirmed as the style of the Yongho Camp in the mid to late 18th century, and it was also used for this essay and visualization work. We used Cloud-patterned Satin Damask as the background material for Large Banner production, to reveal the dignity of the military. The size of the 4 ja flag was determined to be 170 cm long and 145 cm wide, and the 5 ja flag was 200 cm long and 175 cm wide. The conversion formula used for this work was Youngjochuck (1 ja =30cm). In addition, the order of hierarchy in the Flag of the King was discovered within all flags of the late Joseon Dynasty. In the above historical study, the two types of Large Banner were visualized. The visualization considered the size of the flag, the decoration of the flagpole, and the patterns described in this essay to restore them to their original shape laid out the 18th century relics on the background. By presenting color, size, material patterns, and auxiliary items together, it was possible not only to produce 3D content, but also to produce real products.

• Journal of the Korean earth science society
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• v.42 no.3
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• pp.311-324
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• 2021

Recently, ten geosites have been considered in Hwaseong for endorsement as national geoparks, including the Jebudo, Gojeongri Dinosaur Egg Fossils, and Ueumdo geosites. The Jebudo geosite in the southern part of the Seoul metropolitan area has great potential for development as a new geoscience educational site because it has geological, geographical (landscape), and ecological significance. In this study, we described the geological characteristics through field surveys in the Jebudo geosite. We evaluated its potential as a geo-education site based on comparative analysis with other geosites in Hwaseong Geopark. In addition, we reviewed the practical effect of field education at geosites on the essential concepts and critical competence-oriented education emphasized in the current 2015 revised science curriculum. The Jebudo Geosite is geologically diverse, with various metamorphic rocks belonging to the Precambrian Seosan Group, such as quartzite, schist, and phyllite. Various geological structures, such as clastic dikes, faults, joints, foliation, and schistosity have also been recorded. Moreover, coastal geological features have been observed, including depositional landforms (gravel and sand beaches, dunes, and mudflats), sedimentary structures (ripples), erosional landforms (sea cliffs, sea caves, and sea stacks), and sea parting. The Jebudo geosite has considerable value as a new geo-education site with geological and geomorphological distinction from the Gojeongri Dinosaur Egg Fossils and Ueumdo geosites. The Jebudo geosite also has opportunities for geo-education and geo-tourism, such as mudflat experiences and infrastructures, such as coastal trails and viewing points. This geosite can help develop diverse geo-education programs that improve key competencies in the science curriculum, such as critical thinking, inquiry, and problem-solving. Furthermore, by conducting optimized geo-education focused on the characteristics of each geosite, the following can be established: (1) the expansion of learning space from school to geopark, (2) the improvement of understanding of specific content elements and linkage between essential concepts, and (3) the extension of the education scope throughout the earth system. There will be positive impacts on communication, participation, and lifelong learning skills through geopark education.

• Korean Journal of Heritage: History & Science
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• v.54 no.2
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• pp.78-97
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• 2021

Seojangdaeyajodo is a drawing of military night training on February 12th (lunar leap month), 1795. Focusing on the Seojangdaeyajodo, the characteristics and of the costumes worn by various types of officials were examined. There were 34 officials located near King Jeongjo in and around Seojangdae, with 27 Dangsanggwan and 7 Danghagwan. They wore three types of costumes, including armor, yungbok, and military uniforms. All of the twelve armor wearers and the five officials wearing yungbok were dangsanggwan, and the military uniform wearers included eleven dangsanggwan and six danghagwan. For the shape of the armor, the armor relics of General Yeoban, suitable for riding horses, and the armor painting of Muyedobotongji were referenced, and the composition of the armor was based on practicality. The armor consists of a helmet, a suit of armor, a neck guard, armpit guards, arm guards, and a crotch guard. The color of the armor was red and green, which are the most frequently used colors in Seojangdaeyajodo. The composition of yungbok was jurip, navy cheollik, red gwangdahoe, socks made of leather, and suhwaja. The composition of the military uniform was a lined jeolrip, dongdari, jeonbok, yodae, jeondae, and suhwaja. There were differences in the fabrics used in dangsanggwan and danghagwan military uniforms. Dangsanggwan used fabric with depictions of clouds and jewels, and danghagwan used unpatterned fabric. Moreover, jade, gold, and silver were used for detailed ornamental materials in dangsanggwan. The weapons included bows and a bow case, a sword, a rattan stick, wrist straps, and a ggakji. In the records of the King Jeongjo period, various colored heopsu were mentioned; the colors of the dongdari and jeonbok of dangsanggwan and danghagwan were referenced in various colors. It was presented as an illustration of costumes that could be used to produce objects accurately reflecting the above historical results. The basic principle of the illustration was to present the modeling standards for 3D content production. Samples of form, color, and material of the corresponding times and statuses were presented. The front, the side, and the back of each costume and its accessories were presented, and the colors were presented in RGB and CMYK.

• (The) Research of the performance art and culture
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• no.35
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• pp.93-123
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• 2017

The Buddhist dance, which is considered to be the essence of Korean folk dance, has changed and developed over many years, having profound influential relations with Buddhism in terms of its origin, source, title, and costumes. Today the Buddhist dance is performed in two fixed types, Jangsam dance and Buk dance, but it is estimated that there must have been various forms of Buddhist dance during the Japanese rule based on the its historicity and various origination theories. It was around 1940 that Jang Yang-seon, the master of Haejugwonbeon, turned 'Seungininsangmu' into a work through Yang So-woon. The present study analyzed the video of 'Seungininsangmu' performed at the 'Performance in the Memory of Yang So-woon' in 2010, and the analysis results were as follows: first, the dance has a clear message to be delivered in its title and connotes an origination theory of Buddhist dance, which argues that the Buddhist dance was created by a Buddhist that underwent agony and corruption during his ascetic practice and later returned to Buddhism. Secondly, the process of Jangsam dance - Buknori - Bara dance - Heoteun dance - Hoisimgok - Guiui shows the thematic consciousness of the dance clearly in a sequential manner. Finally, the dance was in a form of combining various expressive methods according to the story and its development including the Bara dance, a dance performed in a Buddhist ceremony, the Heoteun dance, which is strongly characterized by individuality and spontaneity that are folk features, and Hoisimgok, the Buddhist music. Those findings indicate that the dance reflected well the flow of putting the Buddhist dance on the stage or turning it into a work in the early 20th century. Compared with the types of Buddhist dance in a strong form including the Jangsam dance and Buk dance, 'Seungininsangmu' conveys the meanings that the original Buddhist dance tried to express in terms of content and reflects on the diversity of combined Akgamu and theatrical elements in terms of form. The present study is significant in that it offers many implications for the Buddhist dance capable of future-oriented development.

• Korean Journal of Heritage: History & Science
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• v.53 no.4
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• pp.170-187
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• 2020

Dolmens bearing the burial layout and stone coffin tombs of the late Bronze Age were excavated from Samdeok-ri, Goseong, Gyeonsangnsamdo, and grave items such as red-burnished pottery, arrowheads, and stone swords were also discovered. In the case of the red-burnished pottery that was found, it retains a pigment layer with a thickness of about 50 to 160㎛, but with most of the other items, exfoliation and peeling-off of pigment layers can be observed on the surface. The raw materials of the red-burnished pottery contained moderately sorted minerals such as quartz, feldspar, and hornblende, and partly opaque iron oxide minerals were also identified. In particular, the raw materials of the red-burnished pottery from stone coffin tomb #6 were different from those of the other pottery, containing large amounts of hornblende and feldspar. The pottery's red pigment was identified as hematite and showed similar mineral content of raw materials such as fine grained quartz, feldspar, and hornblende. The firing temperature is estimated to have been approximately 900℃, based on their mineral phase. The possibility exists that the raw materials had been collected from the Samdeok-ri area, because diorite and granite diorite with dominant feldspar and hornblende have been identified within 3km of that area. During the pottery manufacturing process, it is estimated that the pigment was painted on the entire surface of the red-burnished pottery after it had been molded and then finished using the abrasion technique. In other words, the red-burnished pottery was made by the process of vessel forming - semi drying - coloring - polishing. The surface and cross-section of the pottery appears differently depending on the concentration of the pigment and the coloring method used after vessels were formed. Most of the excavated pottery features a distinct boundary between pigment and body fabric. However, in the case of pottery in which fine-grained pigments penetrate the body fabric so that layers cannot be distinguished, there is the possibility that the fine-grained pigment layer was applied at a low concentration or immediately after vessel forming. Many cracks can be seen on the surface pigments in thickly painted pottery items, and in many cases, only a small portion of the pigment layers remain due to surface exfoliation and abrasion in the burial environment. It is reported that pottery items may be more easily damaged by abrasion if coated with pigment and polished, so it is believed that the red-burnished pottery of the Samdeok-ri site suffered from weathering in the burial environment. This damage was more extensive in the potsherds that were scattered outside the tomb.