• Architectural research
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• v.15 no.1
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• pp.17-23
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• 2013

The purpose of this paper is to reconsider and revaluate Ste. Genevieve Library designed by Henri Labrouste as a criticism of Classicism. Considered as the epitome of the early structural Rationalism the modern historian tried to focus only on the iron structure of the library. Arguably, the structural concern was one of the ideas that the architect wanted to manifest in the library. As a rebel against a view of the Acad$\acute{e}$mie des Beaux-Art the notions of H. Labrouste were radical. He criticized an autistic Classicism with an echoing Claude Perrault's doubt about the myth of classical beauty. These radical ideas firstly showed in his report of the Grand Prix de Rome and must have been developed through several discussions for a novel: Notre-Dame de Paris by V. Hugo. 'Ceci tuera cela', one of the chapter of the novel, was generally known as the death of architecture due to the invention of the printing press around Renaissance period. We, however, consider that even though the historical background of the novel is the Gothic period the ideas, which was discussed with Labrouste, related to the death of architecture was not the architecture itself but classical architecture recomposed during Renaissance period. As the first design work the library must be reflected his ideas, which were developed, and manifested his criticism of the Classicism indirectly.

• Cross-Cultural Studies
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• v.38
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• pp.385-404
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• 2015

Compiled in 776 by Zhang Shen, Wu Jing Wen Zi was regarded as the epitome of model book for standardized regular script in Tang Dynasty. Following early works like Shuo Wen Jie Zi, Zhang Shen adopted radical-rule for the compilation of this work. 3,250 characters were selected from the Five Classics and 160 radicals were established. Yu Jiaxi (1884-1955) harshly criticized the radical system of Wu Jing Wen Zi for being inconsistant and confusing. With careful review and analysis of examples from Wu Jing Wen Zi, this paper discusses the pupose of the compilation of this work, its unique radical-rule system, principles of arrangement of characters with the same or similar radicals, and the differentiation of variant characters. It further discusses the value of Wu Jing Wen Zi by its innovative radical-rule and effective differentiation of variant characters. It concludes with a rebuttal of Yu Jiaxi's argument and restate the necessity of reevaluation of this work even to this day.

• Journal of Fisheries and Marine Sciences Education
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• v.4 no.2
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• pp.121-128
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• 1992

Taking the present circumstances into account that we are approaching the realization stage of interchange and cooperation between North and South Korea through a preparatory stage, recovery of national homogeneity is an essential precondition for reunification. The important first Step is pursuing of recovery of educational homogeneity for this purpose. The authors carried out 8 general observation on the fundamental educational system with ideology, on the actual state and characteristic of educational system for industrial technicians, and especially on the educational system for fisheries technical manpower in the North Korea. It was found that the North Korea's basic idea of educational policy is constituted by bringing up the communistic human beings on the ground of "the Ideas of Identity" and by bringing up industrial technical manpower for development of communistic economic. The basic educational system consists of 1-4-6-4 school years system, and 11 years of compulsory education up to the higher middle schools is imposed to all people. The educational system for industrial technicians is also composed of the regular school system which is following the basic educational system and of the irregular school system which is being attached to the industrial bodies. The fisheries educational system is very similar to the general educational system for industrial technicians, and the fisheries workers are treated more warmly in comparison with the workers engaging in the other industrial fields. By this study, the authors failed to find out the concrete content of the fisheries educational system including the curriculum owing to the lack of information, but this task should be studied continuously to make provision of reunification in the near future. Expressly, a continuous and profound research is required to be carried out on actual accepted state of the international maritime conventions together with the marine officers' certification system for the shipping and fisheries fields in the North Korea.

• Journal of the Korean Society of Costume
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• v.58 no.3
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• pp.131-148
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• 2008

Each stylistic period through history has its own unique look. The characteristic look of each period is completed and visualized with its prevailing ideologies, aesthetic consciousness and morality by means of 'form'. A period expresses its characteristics in accordance with form according to the widespread preferences of the time. Among the various cultural factors that form the look of the time, those that the period holds as ideal aesthetic values create the concept of 'ideal beauty' for that period. This study begins by establishing the conceptual definition of 'ideal beauty' and develops the premise that dress reflected ideal beauty. To attain the goal of the study, the selected objects are dresses represented in paintings, the actual garments from the Renaissance to Baroque periods and written references about art, art history, and history of costume. The results, based upon a theoretical study of the zeitgeist and aesthetic values of the 16th and 17th centuries, are as follows: first, ideal beauty influences the substance and form that constitute dress style. It is a byproduct of the spirit of time, the zeitgeist. The concept of ideal beauty is born within the lifestyle pursued by the ruling class and focuses on the body as an epitome of beauty, moral values, custom, lifestyle and taste as it becomes visualized via form. Second, the aspect of dress representing the ideal beauty of particular time varied according to the times. In both periods, power and dignity were used to achieve the ideal aesthetic values. In the Renaissance, power was expressed by the horizontal extension of dress (i.e. wide farthingales and sleeves) and in the Baroque period, by vertical extension (i.e. long and tall wigs, fontanges and trains). It can be said that fashion in both periods achieved an ideal, such as power and dignity, via the same means, by extending dress sizes, but the ways in which those ideals were portrayed in each period's dress yielded very contrary styles. It is understood through this study that ideal beauty influenced the dress style of the Renaissance and Baroque periods and played a decisive role in determining its forms and symbolic meanings.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.21 no.5
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• pp.426-432
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• 2020

Music with the development of the media since the 20th century marks a change into an era where the live performance and music of the masses, which were hard to imagine in previous times, are shared. Based on this cultural trend, teenage music, which has been completely alienated from existing culture, is in line with the birth of Rock 'n' Roll, an event that has entered the mainstream, and the emergence of the guitar, especially the solid body electric guitar. The Fender Stratocaster, which is referred to as the epitome of this electric guitar, has joined the history of popular music for rock 'n' roll. To this day, the immense influence, which still encompasses many followers and generations, has served as a bridge that continues to be reproduced, even in the historical trend of popular music and the status of electric guitars. In addition, even in the rapid development of popular music and media, we will always be able to give true meaning and value to the vitality with the times. This paper examines the features and marks of these Fender Stratocasters.

• The Journal of Natural Sciences
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• v.16 no.1
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• pp.111-128
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• 2005

This study was conducted under the theory of hermitage ever built from buddhist belief. Directing to hermitages within temples of Korea Jogye Order, we focused on the layout correspondence relationship among them. and 161 hermitages were the first object of the investigation. For the accomplishment of the research purpose, the general epitome and spatial specification through various literature studies, on-the-spot survey and personal communications with a lot of priests were made. As one of the basic surveys, the foundation year were thoroughly investigated, followed by the form of building, main buddha and hermitage name. The results obtained were summarized as follows : Forty five hermitages which are equivalent to twenty eight percent of total hermitages within the parish-level temples of Korea Jogye Order, were built in shilla Dynasty and twenty hermitages that are 12.4 percent of the total were constructed in Koryo Dynasty and thirty seven percent of the total were founded during both of dynasties. This fact makes us to consider that many of hermitages in those days were constructed with the simultaneity of principal temple foundation which means hermitage had responded the spirit of the times. Every hermitage has its main Buddha and this thing happened that each hermitage enshrines its main Buddha according to the thought which was developed with the Buddhism expansion and sutra that is in accordance with their own intention. .Basically a capital temple has differed in its central sanctum in accordance with resourceful sutra, and, at the same time, twenty seven in avatamsk sectenshrine for Sakyamuni as their sanction and eight for the Merciful Goddess and 42.7 percent for Chajang's hermitages. The name of hermitage not only represents its symbol but comprises the characteristic meaning of ascetic practice. 31.7 percent of the hermitages studies was found to have the names of relating to 'ascetic practice' or 'thought' followed by the 'nature' or 'environment' to 21.7 percent.

• KSBB Journal
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• v.11 no.4
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• pp.420-430
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• 1996

One-step immuno-chromatography assay system for heat-killed Salmonella typhimurium antigens was developed. Three major components used were a glass fiber membrane (placed at the bottom of the system) with an antibody (specific to the analyse, detection antibody)-gold conjugate deposited in a dry state on the surface, a nitrocellulose membrane (middle) with an antibody (also, specific to the analyse but recognized different epitome: capture antibody) and anti-detection antibody immobilized in spatially separated areas, and a cellulose membrane (top) as absorption pad. These membranes were partially superimposed such that a wicking of aqueous solution containing sample can continuously take place through membranes. Variables that affected the system performance were the concentration of capture antibody, the location on the membrane, inert protein used for blocking of the membrane and for carrying the sample, and the concentration of the gold conjugate. Under optimal conditions, within 15 minutes after absorption of a sample solution from the bottom of the system antigen-antibody complexes of sandwich type were formed on the membrane surface area with immobilized capture antibody and a color signal was generated in proportion to the analyse concentration. The minimum do tection limit of the analyse was $1{\times}106$ Salmonella cells/mL.

• Publications of The Korean Astronomical Society
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• v.39 no.1
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• pp.1-12
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• 2024

In this study, we investigated the time signal devices of Deungnu (circa 1270) and Gungnu (1354), the water clocks produced during the Yuan Dynasty (1271-1368). These clocks influenced Heumgyeonggaknu (1438) of the Joseon Dynasty (1392-1910), exemplifying the automatic water clocks of the Yuan Dynasty. Deungnu, Gungnu, and Heumgyeonggaknu can be considered as automatic mechanical clocks capable of performances. The Jega-Yeoksang-Jip (Collection of Calendrical and Astronomical Theories of Various Chinese Masters) contains records of Deungnu extracted from the History of the Yuan Dynasty. We interpreted these records and analyzed reproduction models and technical data previously produced in China. The time signal device of Deungnu featured a four-story structure, with the top floor displaying the four divine constellations, the third floor showcasing models of these divinities, the second floor holding 12-h jacks and a 100-Mark ring, and the first floor with four musicians and a 100-Mark Time-Signal Puppet providing a variety of visual attractions. We developed a 3D model of Deungnu, proposing two possible mechanical devices to ensure that the Time-Signal Puppet simultaneously pointed to the 100-Mark graduations in the east, west, south, and north windows: one model reduced the rotation ratio of the 100-Mark ring to 1/4, whereas the other model maintained the rotation ratio using four separate 100-Mark rings. The power system of Deungnu was influenced by Suunuisangdae (the water-driven astronomical clock tower) of the Northern Song Dynasty (960-1127); this method was also applied to Heumgyeonggaknu in the Joseon Dynasty. In conclusion, these automatic water clocks of East Asia from the 13th to 15th centuries symbolized creativity and excellence, representing scientific devices that were the epitome of clock-making technology in their times.

• Journal of Digital Convergence
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• v.12 no.1
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• pp.177-192
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• 2014

In this study, To identify the member of an organization can be affected use of information technology and support of information technology how business strategy affected business performance. Also, This study is considered to be the epitome of corporate strategy in the Miles & Snow of the 'adaptation strategy' and Michael E. Porter of the 'fundamental competitive strategy' at the same time, by applying the existing business management strategy that can be applied to target compared to the type of management performance measures are presented for the purpose. the results of the study can be summarized as follows. First, Business strategies affect the financial performance for the hypothesis that Miles & Snow of the 'adaptation strategy' honor type of defensive strategy and financial performance and strategy management and positive impact on non-financial performance was found. Second, Management strategies affect the financial performance for the hypothesis that Michael E. Porter of the 'fundamental competitive strategies' overall cost leadership strategy and differentiation strategy of management and financial performance and non-financial performance was found to positively impact. Also, Business performance management strategy significantly positive affect, Business strategies with the characteristics of the relationship between management and Information technology utilization showed that the moderating effects.

• The Journal of Art Theory & Practice
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• no.16
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• pp.107-137
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• 2013

This paper examines a number of Korean artists-Whanki Kim, Po Kim, Byungki Kim, Lim Choong-Sup, Min Byung-Ok and etc-working in New York in the 1960s and 1970s, focusing on their motivations to head for the U.S. and their life and activity in the newly-emerged city of international art. The thesis was conceived based upon the fact that New York has been one of the major venues for Korean artists in which to live, study, travel and stay after the Korean War. Moreover, the United States, since 1945, has had a tremendous influence upon Korea politically, socially, economically, and, above all, culturally. This study is divided into three major sections. The first one attends to the reasons that these artists moved out of Korea while including in this discussion, the long-standing yearning of the Korean intelligentsia to experience more modernized cultures, and American postwar cultural policies that stimulated them to envision life beyond their national parameters, in a country heavily entrenched in Cold War ideology. The second part examines these artists' pursuit of abstraction in New York where it was already losing its avant-garde status as opposed to the style's cutting edge cache in Korea. While their turn to abstraction was outdated from New York's critical perspective, it was seen to be de rigueur for Koreans that had developed through phases from Art Informel in the 1960s to Dansaekhwa (monochromatic paintings) in the 1970s. The third part focuses on the artists' struggle while caught between a dualistic framework such as Korea/U.S, East/West, center/margin, traditional/modern, and abstraction/figuration. Despite such dichotomic frames, they identified abstract art as the epitome of pure, absolute art, which revealed their beliefs inherited from western modernism during the colonial period before 1910-1945. In fact, their reality as immigrants in America put them in a diasporic space where they oscillated between the fixed, essentialist Korean identity and the floating, transforming identity as international artists in New York or Korean-American artists. Thus their abstract and semi-abstract art reflect the in-between identity from the diasporic space while demonstrating their yearning for a land of political freedom, intellectual fulfillment and the continuity of modern art's legacy imposed upon them over the course of Korea's tumultuous history in the twentieth century and making the artists as precursor of transnational, transcultural art of the global age in the twenty-first century.