• The Journal of Korean Philosophical History
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• no.59
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• pp.9-38
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• 2018

Joseon Neo-Confucianism had important disputes throughout its hundred years of history. Starting in mid-16th century, Four-Seven Dispute focused on 'Qing (情, emotion)' while Horak Dispute that emerged in early 18th century put emphasis on whether people and things have the same 'Xing (性, nature).' These two disputes lasted until late Joseon. In that process, their issues were clearly recognized and consequently, characteristics of Joseon Neo-Confucianism were well demonstrated. With Western power surging in since mid-18th century, Joseon Neo-Confucianism should develop logic to cope with the Western power. One of responding logics was Zhulilun (主理論, theory of reason) in Neo-Confucianism. Diverse discussions particularly on 'Xin (心, mind)' were expansively made. From the notion of Xin Tong Xing Qing (心統性情) that Xin converges with Xing and Qing, an argument that Xin should be seen as 'Li (理, reason)' and another that Xin is basically 'Qi (氣, force of nature)' were up against each other. The academia heated up with issues raised such as whether Xin and Mingde (明德, bright virtue) are the same notion and whether Mingde should be seen as 'Li' or 'Qi', etc. Defining morality dispute in the late Joseon along with Four-Seven Dispute and Horak Dispute as 'three major disputes in Joseon Neo-Confucianism,' this paper focuses on clarifying their status, actuality and significance. Morality dispute was not only a theoretical dispute. It has significance in the aspect of 'topicality.' It directly and indirectly affected movements against Western and Japanese power, loyal troop's activities and independence movement as well. Compared to Four-Seven Dispute and Horak Dispute, morality dispute is more complex and expansive. In addition, it requires systematic organization of data. Intercomparison of three major disputes is one of key topics to determine characteristics of Joseon Neo-Confucianism.

• Journal of Korean Tunnelling and Underground Space Association
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• v.23 no.6
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• pp.469-484
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• 2021

Rock mass classification results have a great influence on construction schedule and budget as well as tunnel stability in tunnel design. A total of 3,526 tunnels have been constructed in Korea and the associated techniques in tunnel design and construction have been continuously developed, however, not many studies have been performed on how to assess rock mass quality and grade more accurately. Thus, numerous cases show big differences in the results according to inspectors' experience and judgement. Hence, this study aims to suggest a more reliable rock mass classification (RMR) model using machine learning algorithms, which is surging in availability, through the analyses based on various rock and rock mass information collected from boring investigations. For this, 11 learning parameters (depth, rock type, RQD, electrical resistivity, UCS, V_p, V_s, Young's modulus, unit weight, Poisson's ratio, RMR) from 13 local tunnel cases were selected, 337 learning data sets as well as 60 test data sets were prepared, and 6 machine learning algorithms (DT, SVM, ANN, PCA & ANN, RF, XGBoost) were tested for various hyperparameters for each algorithm. The results show that the mean absolute errors in RMR value from five algorithms except Decision Tree were less than 8 and a Support Vector Machine model is the best model. The applicability of the model, established through this study, was confirmed and this prediction model can be applied for more reliable rock mass classification when additional various data is continuously cumulated.

• 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.

• Korea journal of population studies
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• v.28 no.2
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• pp.97-129
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• 2005

Korean society recently witnesses a rapid lllcrease of suicide across all ages. In particular, suicide in old ages jumps up ill a very unexpected way. Furthermore, the order of suicide in the cause of death across all ages is becoming higher and higher in Korea. This study provides details of suicide that occurs in Korean society with the comparison to that of Japan at the descriptive level. It is not well known why suicide in Korean surges recently. Several previous research show the possibility that surging suicide is closely related to the worsened economic conditions especially since the economic crisis in 1997. They adopt economic growth, unemployment rate, income distribution, household finance index as economic indicators in their research. This study also adopts those indicators and conducts a correlation analysis in two periods, 1990-1997 and 1998-2004. It is found that there is no correlation between economic indicators and suicide in the period of 1990-1997. On the other hand, there is a very strong correlation between income distribution and suicide in the period of 1998-2004. Other economic indicators except income distribution does not have any significant correlation with suicide. This finding suggests that currently increasing suicide in Korea may be a result of economic polarization, which has been worsened since the economic crisis in 1997.

• Journal of Korean Theatre Studies Association
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• no.53
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• pp.31-56
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• 2014

If we define theatre as an infinite tower piled up by smoke, the strata of the organic composition of an actor's/actress' body-mind-spirit, may not only be complicatedly worked out, but it seems to belong to a non-scientific realm. However and at the same time, it is also true that the audience is eager to witness a certain kind of specific vitality from the actor/actress on stage. Of course the vitality is hard to be prescribed. Simply we call it a texture of energy, nuance of existence, or much simpler, an actor's/actress' 'aura'. That is, the existential nuance of the actor/actress. The nuance, which is surging from the actor's/actress' authentic presence, ultimately comes out of, not the circumstantial interpretation of the production but the power of its integration. We can find from the works of Meyerhold, Grotowsky and Barba the theatrical fact that the actor's aura can be obtained by a kind of artificiality rather than innate characteristics of existence. These directors commonly regard theatre as the actor's/actress' theatre. Respectively choosing his own specific methods of expression, they unexpectedly meet in a same spot in which actor's/actress' theatre can be realized by the rediscovery of the actor's/actress's body-form. In other words, their approaching methods to theatre look alike, at least in that abandoning reserving any natural, unconscious, economic body-form of an actor/actress, they rather try to discover a certain kind of 'technical' body-form. The form which is totally non/un-conscious, unfamiliar and non-economical. Their research process explores an ideal body-form, and this thesis focuses on this point. For this work, I bring the notion of 'liminality' that connotes the praxis for essential presence of the actor/actress as well as the incubating time and space nacessary for his/her rebirth. And for developing this work, I ask: Could not the actor's/actress' consciousness and the spatiotemporal dimensions (s)he meets, be possibly defined as the core of liminality, only in case that (s)he requires them in the process of, either exploring the unfamiliar body or familiarising with the unfamiliar body-form? As I mentioned above, the three frontiers' theatrical journey is similar in part. For example, three all start from the actor's/actress' consciousness and then go through the body enlarged with it. Then they continue their journey, but different from one another. Meyerhold still uses the conscious body. But now he transforms it into a kind of mobilized sculptures. In comparison with Meyerhold's use of the consciousness, Grotowsky puts his emphasis on an autonomous body which, if necessary, cast away even the innate consciousness. Likewise, to Barba, theatre always starts from the actor/actress who has already taken off all kinds of conventions. (Conventions should be re-designed!) The actor/actress therefore recreates him/herself as his/her body-mind wears a new, unfamiliar, readjusted form and vitality. And then this restructured body-mind may unceasingly aim at exploring its vitalized 'positive organism', that is the waves of self-centering energy, an existential nuance, and an authentic (or maybe behavioral) expressiveness. Now it seems clear that the liminal process for the frontiers' theatrical journey could be equalized as a profound process of self-penetration, self-transformation, and self-realization. This thesis explores the mystic realm of liminality.