• Journal of Korean Home Economics Education Association
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• v.25 no.1
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• pp.95-118
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• 2013

The purpose of this study was to analyze the contents of housing related to characters, objectives, and contents of FCS curricular from the 1st to 2009 revised curriculum of secondary school. The data were downloaded from the NCIC homepage(http://www.ncic.re.kr/2012. 04. 08) from the 1st(1955. 08) to 2009 revised curriculum(2012. 03) of secondary school. After examining the characters and objectives of each curriculum, contents of housing was analyzed by units and context elements of middle and high school separately. The titles of the subject, the objectives, the instructions, the leaning spheres, weekly hours, grade and gender of candidates, the emphasis of the instruction, etc. have been changed through the curriculum revision. The 6th curriculum was the main period to open to both genders, the $7^{th}$ was the period to combine with technology, the 2007 version was to change the structure of contents of home economics, and the 2009 version switched technology home economics from mandatory to optional in high school. The character of the courses was presented at the 1st curriculum, but it was left out from the $2^{nd}$ to $5^{th}$ curriculum. From the $6^{th}$ curriculum, the characters were separately given to middle and high school. The character of housing area started to appear only in high school home economics from the $7^{th}$ curriculum. The course objectives were described in all curriculum of both middle and high school. This applies to housing area as well. The course objectives have been modified in order to reflect value changes due to social issues. During each curriculum, contents of housing continued to change in context, course load, and candidates. Reflection of housing trends and social needs were the main causes of the change. 2009 version emphasizes on eco-life and sense of community.

• (The) Research of the performance art and culture
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• no.22
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• pp.253-285
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• 2011

The number of "Performing Arts Festivals" is growing increasingly in South Korea. This trend is mainly held in large cities which are difficult to communicate closely among residents. South Korea, while the pace of city life and speed of development are very fast, increasing number of "Performing Arts Festivals" with communal characteristics is in the natural process of festival evolution in large cities. In the evolution of the contemporary festival, it is natural to see some increase of modern festival after the development of traditional and folk festivals. It is important that the "Performing Arts Festivals" express the two elements, artistic character and festivity, not only in distinctively but also in harmony. The "Performing Arts Festivals" should consider the process of the organization, human resources, networking systems of the human communication process, resource use, etc. For the success of the festival, we must obtain the complementary effects between two attributes:festival characteristics and artistic senses. Therefore, we chose the 'Festival d'Avignon' as the reference of the total representation of artistic characteristics and festivity. From the case of the Festival d'Avignon, we get the implications of the development of performing arts festival in South Korea. To explain the festival value and artistic significance of the Festival d'Avignon, we explained the spontaneity and openness to public participation, the relationship between spectators and works, the representation of memory and communicative image, etc. To explain the artistic attributes of the 'Festival d'Avignon', we explained the mission to reconcile the artistic and the popular, to promote the artistic know-how, understanding how to communicate with the public, to consider more artistic quality than commercial benefits. Essentially, this study shows the meaning and the vision to forecast the future as well as the recent proliferation in various fields of Performing Arts Festivals. This study may help to improve analytical precision of Performing Arts Festivals.

• (The)Study of the Eastern Classic
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• no.66
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• pp.129-162
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• 2017

This article examines the form of hell and the nature of literary works in the late Joseon period. 'Hoeshimgok(回心曲)' divides a sinner into a man and a woman, and presents a virtue of goodness to a man and an item of evil to a woman. The elements of virtue and malice are both Buddhist ethical norms and Confucian ethical norms. Hell-related novels have common features that emphasize the ethical norms that should be kept in daily life through the causes of hell, though the patterns of punishment and their reasons are slightly different depending on the works. And 'Hoeshimgok(回心曲)' and these works are generally shown by reducing the punishment pixel of hell compared to the cause of hell. This characteristic shows that the literary works of the late Joseon literature related to hell were mainly aimed at providing or educating ethical virtues centered on 'Samgangwol(三綱五倫)' through sanctions of 'Hell' widely known to the general public. The emphasis on Confucian ethics is not limited to works of literature related to hell. In the nineteenth century, when these works were created and circulated, there is a surge in the number of chapters and publications of books for Confucian Indoctrination, Didactic Gasa, and Goodness Books, which emphasize Confucian ethics. Such a strengthening of the Confucian ethical consciousness can be attributed to the crisis of the 19th century Joseon society about the social confusion that threatens the existing system. In particular, the creation and circulation of literary works related to hell in the late Joseon period is related to the dissemination and spread of Catholicism. In the end, the hell shape of the late Joseon literature reflects the crisis of social confusion faced by Joseon society in the nineteenth century. Therefore, it can be said that it has the character of literary response to the prevalent diffusion of Catholicism.

• Journal of the Korean Institute of Landscape Architecture
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• v.38 no.1
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• pp.49-63
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• 2010

This study was intended to analyze and interpret the pattern of naming the domestic apartment brand from a semiologic viewpoint in a bid to review the meaning and value of apartment brand, while on the other hand, evaluating the characteristics of persuasive message pursued by current apartment brand in 2010, and consequently, the conclusion of the study is outlined as follows. 1. As a result of analyzing the coinage of branding naming, the words such as combination, joint and blending pattern tended to dominate, which seemed to attempt to represent the variety of values of the housing culture. Brand ideation tends to stress the character symbolism and polysemic message using syllepsis, and the experimental attempt to revive the traditional dwelling concept in a modern sense in a way of combining the archaic word with the Chinese character was found as well. 2. As a result of analyzing the frequency of verbal identity and lexeme of domestic apartments, those frequently used are in order of ville, nature, beauty(美), park, hi, green, palace(宮), nobility and center(tra), which are the lexemes representing the landscape, view, nature and dignity. 3. As a result of identifying the pattern of lexeme using analysis frame based on existing researches such as apartment brand positioning, the most important external core concepts controlling the direction and value of apartment brand are 'environment-orientated' and 'emotion-orientated', and internally, 'function-oriented'. Given the persuasive language expressing the 'environment-oriented' feature and the priority of brand lexeme are garden, park, view and the nature, a landscape-oriented persuasive message is seen to be surging in brand naming. 4. An emotion-oriented persuasive language such as dignity axis having major lexeme represented by palace, nobility, class and a pride axis having major semantic elements represented by human, I and you are used as major value concepts and persuasive language that lead domestic apartment brands to differentiation and upgradation. 5. Among the lexemes focusing on view from environment-oriented standpoint, hi, hill, tower, view, mark, heights are the trend pursued by high-rise apartment aiming at the view such as residential-commercial apartment, and thus the persuasive language focusing on high-rise concept is expected to become the element dominating the trend of apartment brand for the time being.

• Analytical Science and Technology
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• v.16 no.4
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• pp.283-291
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• 2003

Humic and fulvic acids present in soils of different depth were extracted and their acidic functional groups and structural characteristics were analyzed and compared. The purpose of this study was to present a basic data needed to evaluate the effect of humic substances on depth distribution and migrational behaviour of radioactive elements deposited on soil. Acidic functional groups of the humic and fulvic acids were analyzed by pH titration method, and their proton exchange capacity (PEC, $mq\;g^{-1}$) and average $pK_a$ values were obtained. Structural characteristics of the humic and fulvic acids were analyzed using their CPMAS $^{13}C$ NMR spectra and elemental composition data. pH titration data showed that fulvic acids have higher acidic functional group contents ranging from 5.5 to $7.0meq\;g^{-1}$ compared with that of humic acids ($3.8{\sim}4.8meq\;g^{-1}$). From depth profiles, it has been found that PEC values of humic acids in deeper soil (> 8 cm) were higher than those at the surface soils. Elemental compositions (H/C ratio) and spectral features ($C_{arom}/C_{aliph}$ ratio) obtained from CPMAS $^{13}C$ NMR spectra showed that the aromatic character in humic acids was a relatively higher than that of fulvic acids, while lower in carboxyl carbon content. The aromatic character and carboxyl carbon contents of humic acids tend to increase as soil depth increased, but those of fulvic acid showed little differences by the soil depth range.

• Cartoon and Animation Studies
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• s.20
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• pp.75-86
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• 2010

Recently, as the number of female players has increased rapidly, the electronic gaming industry has begun to look at ways to appeal to the largely untapped female market. According to the latest game market investigative report by China Internet Network Information Center (CNNIC), the total number of game players in China increased by 24.8% in 2009, reached 69,130,000 people, and 38.9% of them are female players. This growth in the number of female player is corroborated by a series of investigative reports from IResearch Company in Shanghai, China: from 2003 to 2009, the number of female players grew from 8% to more than 49%. Therefore, no matter how much attention the game production companies have given to male players or how they have ignored the female players before, the companies would be sensible to face up this reality and adjust their marketing policy a bit more. This article analyzes gender preferences in video games which shows that male players are more likely to be attracted to elements of aggression, violence, competition and fast action in electronic game-playing, while female players are drawn to emotional and social aspects of the games such as an understanding of character relationships. The literatures cited indicates that female players also show apparent preference for games with familiar environments, games that allow players to work together, games that have more than one way to win, and games in which characters do not die. It also discusses the characteristics of female-friendly games from the aspect of emotion, pointing out that the simulation games involving pet, dressing-up, and social simulation games are very popular with female players. Because these are the most suitable game types to fill with emotions of love, share, jealousy, superiority, mystery, these are absolutely attractive to female players. Finally, in accord with the above, I propose some principles of designing female-oriented games, including presenting a good-looking leading character, making the story interesting with "live" NPCs(Non-Playing Characters), and finding ways to satisfy female nature instincts such as taking care of others and the inborn interest of classifying and selecting.

• Cartoon and Animation Studies
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• s.35
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• pp.107-128
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• 2014

Cultural Content industries based on imagination and creativity are attracting attention and the animation high value-added industry is still spotlighted. Among them, Disney Studios make money through using their professional skills. There are the know-how has developed for a long time, and there are timeless strategy. This study is analyzing by fantasy elements for knowing the messages of Disney animation. Fantasy defined as genre of literature by Todorov and Jackson emphasized its social role and significance. Hume expanded the area of fantasy and Tolkein Jahoriski and Boyer classified the fantasy according to the purpose. Through the analyzing Disney animation , Disney's fantasy show the specific expression depending on the target. Disney is based on the three types of fantasy depending on the growth of the journey. The first area is composed of the main character's growth and satisfy the desire and escapism, The second is the word of antagonist who opposed to reality and break the rules of the dominant ideology. The last area is the utopia provided after hero beat the antagonist. Disney characters give the messages by using the fantasy like the transformation or alter ego. That show the subject of the main character's growth and the supporting characters as the expression of the multiple personality of main. These emphasize the hero's growth and give the fun. Also, in the subject of the otherness, the hero always destroy the evil who broke the rules of reality. In this way, the fantasy offered by Disney give the messages of sacrifice and family from true love. Disney has the support of their target audiences continue to be able to convey ideology.

• Journal of the Daesoon Academy of Sciences
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• v.26
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• pp.1-41
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• 2016

The script of the Fellowship of Daesoon Truth, 『Jeongyeong』 consists of seven sectors and 17 chapters. The seven sectors include 「Life of Sangje」, 「Reordering of the Universe」, 「Passing on of Teaching」, 「Law of Teaching」, 「Wisdom」, 「Cure of the Sick」, and 「Foreseeing」. The chapter 「Reordering of the Universe」 has the most records about Sangje, while the 「Law of Teaching」 has the most variety of materials in many passages about Sangje. This shows that the chapter 「Reordering of the Universe」 puts emphasis on the unique religious activities of Sangje and 「Law of Teaching」 is important for its edifying elements. "Law of teaching" is 敎法(Gyobeop) in Chinese character. 敎 means "teaching" and 法 "laws". What is law? A law becomes the rules for maintaining order of a society. In the view of religion, the law is ethical rules set by Kang Jeungsan to keep an order in the world. The first and second chapters of 「Law of Teaching」 have writings on 1. What Sangje said in person to the disciples, 2. The teachings Sangje gave to the disciples in certain occasions, 3. Reality of the society in late Joseon Dynasty, 4. Teachings related to the historical figures and old stories, and 5. Literatures. The third chapter has two special types of writing, which is about Taoism myths and statements written only in Chinese characters. In 『Daesoon Jeongyeong Volume 6』, the chapter 「Words of Law」 has more contents on edification for disciples, Cheok and resolving grudges with more detailed expression of woman resolving their piled up grudges. This chapter also has writings about discriminating old evil customs of Confucianism, emphasizing virtue and act of reciprocating for offered graces while training of one's mind and working on one's daily practice (shown in Sangje's saying about certain historical figures, quoting the Song of Suwun, statements in Chinese characters), Sangje's opinion about Japan, China, ancestral beings, eating raw foods, Byeokgok and others. In comparison with 「Words of Law」 in 『Daesoon Jeongyeong Volume 6』, which was issued in 1965 as the previous generation literature, 「Law of Teaching」 in 『Jeongyeong』 has many additional statements made to existing passages. Also, some passages were combined of two previous passages, some words were corrected, and in some passages, additional statements were made about the same person mentioned in another passage. And some passages were dropped. For the contents, 『Jeongyeong』 has additional statements about spiritual training of one's mind and practicing the teaching in daily lives, which indicates that 『Jeongyeong』 is focusing more on actual daily practice and the idea of overcoming hardships during the practice and realizing the principle of Resolution of all grudges.

• The Journal of Dong Guk Oriental Medicine
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• v.5
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• pp.281-306
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• 1996

A study on the effect of the Sun-Moon-Stars(日月星辰) in Huang Ti Nei Ching("黃帝內經") on the formation of the Yunqi theory(運氣理論) have revealed following conclusions. 1. There was a record of Stars(星辰) written by Gabgol-Character(甲骨文字) in the Yin(殷) Dynasty. But the very first documentary records of Stars(星辰) is Shu Jing("書經"). Ancient astronomy had the tendency of astrology of combined with theory of the Five Elements(五行) and finally effects the theory of formation of Huang Ti Nei Ching("黃帝內經"). 2. Shu Jing("書經") said that Junrak(錢樂) made an Armillary sphere(運天儀) in the Sung(宋) Dynasty. And in the Jin(秦) and the Han(漢) Dynasty, they already observed the stars. The Sunkiokhyung(璿機玉衡) which is machinery of star-observing, became to be called an Armillary sphere (運天儀) by the pass of times. 3. As of the theory of the Cosmos-structure(宇宙-構造論) in Ohanunhangdaeron("五運行大論"), Guiyugu(鬼兒區) announced the Hypothesis of Covering Heaven(蓋天說) but Kibak(岐伯) supported the Hypothesis of chaosheven's(蓋天說) and in the theory of atmosphere(大氣論) in Ohanunhangdaeron("五運行大論") said that the earth was in Great Empty(太虛) and it was floating in the universe by the Great Chi(大氣). 4. The knowledge about the Five stars(五星) in Huang Ti Nei Ching("黃帝內經") is presented in the section of Gemgwejineonron("金?眞言論"), Gigoupyondaeron("氣交變大論"), Youkwonjeonggidaeron("六元正紀大論").ln the method of identifying the Five stars(五星) presented the criteria of the brightness, the altitude, the colours and the orbit etc. 5. The jupiter which has twelve year's revolution cycle was the basis of determination on the Twelve constellation(12辰), the Twelve field of heaven(12次), the Twelve Houses in the ecliptic(黃道 12宮), the Twelve Earth's Branches(12支) and the Twelve fields of Earth(12分野) and also it became the origin of the duodecimals(12進法). 6. The saturn having about twenty-eight year's revolution cycle became the criterion in identifying the Twenty Eight Constellations(28宿) which was used as the coordinates of the Celestial sphere (天球). 7. By the Percussional movement(歲差運動), the position of polaris and the Vernal-Antumal equinox(春秋分点) were shifted. Therefore the ancient the Heaven Gate-Earth Door(天門-地戶) changed from the position of Sil-Byuk(室壁), Yik-Jin(翼軫). And the precisional movements brought about the concept of the WunHoyYunSe(元會運世) that is a method of dividing a period. Also the precisional movement gave three dimension(三次元) foundation interpreted the Sixty JiaZi (六十甲子) which is revolving through sixty years uniformally. 8. The Hypothesis of the Nine Houses and Eight Winds(九宮八風論) which is one field of the astrology of ancient polaris-nine Houses divination plate(太一九宮占盤) brought about the concept of deficiency and excess and the concept of the Wind Vice(風邪). In the Calendar System(曆法) presented in Huang Ti Nei Ching("黃帝內經") the tropical year of the Sun-Moon-Stars(日月星辰) and the revolution and the rotation of the earth give explanations the changes of Yin-Yang(陰陽) by the use of the ten Celestial branches(十干) and the twelve Earth branches(十二支).

• Journal of the Korean Society of Costume
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• v.36
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• pp.239-262
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• 1998

The pursuit of freedom by the individual--desire to be liberated from all forms of restrictions-- is one of the defining character-istic of the modern society. As costume is, in part, a product of the spirit of the times, it was only natural that this desire for freedom would find its expression in modern costume as well. Among various forms of restrictions, differentiaton by sex has placed one of the most significant binding influences on individual behavior. From early times, the dichotomous division by sex was incorporated into the disign of costume, and the traditional differestriction of costume by sex imposed a significant restriction on the background,“the modern androhynous look”was born as a by-product of the sexual liberation movement in the second half of the 20th century, based on the concept of the individual as a complete human being rather than as a member exclusively of either the male or the female sex. This paper seeks to examine the androgynous look within a coherent theoretical frame-work, and explore new design possibilities by analyzing and understanding the visual characteristics of the androgynous look. In addition, this paper seeks to define the functional aspects of the androgynous look based on the premise that costume is an embodiment of the spirit of the times. As for research methodology, both theoretical and historical methods are employed. Through a theoretical examination of historical documents, the meaning of the androgynous look is explored from various angles, and order to examine its place in modern fashion, an-drogynous styles are categorized and system atically analyzed. The main findings of the paper can be summarized as follows : 1. Androgyny is a compound word consisting of“andro-”(meaning man) and“gyn-”(meaning woman). In modern times, this word has been associated with the socio-cultural aspect of gender rather than the physical or physiological aspect with the pshchological characteristics of the male and female sexes. Androgynous styles also appear in fashion and general arts such as drama, film, dance, and music. In fashion, the androgynous look, represented by the visual superimposition of “masculine”and “faminine”elements, has emerged as a major element of the 20th-century costume, and has gained broad acceptance among those free spirits wishing to be liberated from the conventional conceptions of male clothing, and the unisex look. 3. The androgynous look in modern fashion reflects the spirit of the 20th century society and culture, and performs various functions as follows : expression of fun, change in gender roles, expression of the inner consciousness, and pursuit of the ideal human type.