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Data publikacji: 25 lipca 2024

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1

Kim, Kyoo-Soon. "A Study on Settlement Process of Provincial Noble Family in Seoul - Focusing on Yakbong Clan of Daegu Seo Family and Seoyoongong Clan of Andong Kim Family -". Journal of Koreanology 65 (30.11.2017): 165–85. http://dx.doi.org/10.15299/jk.2017.11.65.165.

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Chae, Gwang-Soo. "The Reinstatement of Seowon and Related Expenses in the Japanese Colonial Era: Focusing on Imho Seodang (臨湖書堂) in Andong". Institute of Korean Cultural Studies Yeungnam University 84 (31.08.2023): 129–60. http://dx.doi.org/10.15186/ikc.2023.8.31.05.

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It is a common belief that the historical meaning of Seowon ended after Daewongun’s decree of demolishing Seowon. Therefore, Seowon in late Joseon and the Japanese colonial era were not subject to objective exploration or research, and interest in data generated after modern times was rather low. However, Seowon began to be built or rebuilt immediately after Daewongun’s resignation, and it is still being actively done today. If a number of Seowon were reinstalled, how was it done then? There are the conditions of Seowon that can answer this question. It is Imho Seowon in Andong which enshrines Kim Yong (金涌). It is because ancient documents generated before and after the reinstatement in the Japanese colonial era are well preserved in this Seowon. First, based on the notes of rebuilding (Igeon Ilgi), the process of reinstalling Imho Seowon was reconstructed, and next, existing ancient documents were analyzed to shed light on all related costs and functions. Around 1920, Kim Yong’s descendants decided to reinstall Imho Seowon inside the precincts of Imcheon Seodang (臨川書堂). The main factor in the decision of its reinstallment was the economic power previously held by that Seowon. Normally, the properties of abolished Seowon were treated by Sokgong (屬公), Hyanggyo Isok, or the voluntary disposition of the operating clan. Imho Seowon, however, still held Seowon Jeon (書院田) even after the demolition. In the process, some noise was there, too, but through the process of forming a consensus among Uncheon-gye ⇨ Beom (凡) Uiseong Kim’s family ⇨ Horon-gye, it was rebuilt as Seodang in 1922 after 55 years from its demolition. The project to rebuild Seowon is a construction work that requires enormous human and material costs. In the situation where they could not expect enough human and material support from the government, the only way to secure financial resources was the aid from descendants and other families. Fortunately, thanks to the great interest and cooperation of descendants, Imcheon Seowon collected a total of 19,765 Nyang that was 765 Nyang more than the estimated amount. The specific expenses spent on the project of rebuilding include not only a total of 13,105 Nyang 9 Jeon 5 Pun for construction but labor costs, food costs, and eating expenses, too. Imho Seodang rebuilt in this way seems to have been unable to perform ancestral rites because there was no shrine, and it mainly functioned as a place for meeting. E very year, they held a regular meeting and also gathered whenever there was a crucial issue of the family or village. In the meeting, not only the members of the family but Yurim living distantly, too, attended. Why did they intend to reinstate Seowon then? The biggest reason is the social atmosphere of the early 20th century in which they still needed Seowon. In other words, the sense of crisis coming from the loss of a family’s foundation, Seowon, which was the medium for exercising power in the traditional village played a major role.

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Lee, Jae-sook. "Contents of Lee Dong-yoon's writings and an overview of poetry". Daedong Hanmun Association 72 (30.09.2022): 147–76. http://dx.doi.org/10.21794/ddhm.2022.72.147.

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Minjae Lee Dong-yoon(1727~1809) is a writer of ≪Baksochonhwa≫. After he was introduced to the academic world, research has been accumulated, but there is still lack of research on his life, thoughts, and literature. By introducing Lee Dong-yoon’s collection of works, ≪Minjaeyugo≫, this study is aimed to examine the aspects of him as a writer found in his life, works, and Chinese poems and figure out his pursuit in literature. The three books of ≪Minjaeyugo≫ that have been handed down up to now are unfinished manuscripts of which order is not decided. It contains 631 themes and 1,276 works of Chinese poetry written by him from 1757 when he was 30 years old to his later years. About the contents, it includes 49 Seo(書), 3 Seo(序), 3 Gi(記), 17 Jebal(題跋), 45 Jemun(祭文), 7 Gomun(告文), 6 Haengjang(行狀), 8 Haengrok(行錄), 2 Eonhaengrok, 4 Yusa(遺事), 8 Myoji(墓誌), and 25 Japjeo(雜著). This study outlines Lee Dong-yoon’s works of Chinese poetry as 1) the records of daily life grounded on Cheonghan(淸寒) and affection, 2) the life of Anbunjijok (安分知足) and intention for Seonghak(聖學), and 3) preference for creating Old poems written at full length and Chinese poems written in series. First, although Lee Dong-yoon had the reputation of the royal Jeonju Lee’s family, he was in distress through his life for poverty and destitution. Taking ordinary and plain things in everyday life as the themes of his Chinese poems, he pursued simplicity about all sorts of feelings in the world. This is in line with the meaning of ‘Bakso(樸素)’ taken from ≪Jangja(莊子)≫. Second, as an old man in the rural area of the Chungcheong Province, Lee Dong-yoon was immersed into Gyeonghak(經學), solidified his will for Studies for oneself, learning to develop and cultivate oneself, and pursued the life of Anbunjijok(安分知足) by writing Chinese poems. Third, Lee Dong-yoon’s Chinese poems were intensively created in his later years, and concerning the forms, Jangpyeongosi and Yeonjaksi formed a large part. In the Hoseo area, he interacted with Namdang’s disciples and the brothers of Andong Kim’s family deeply, and it seems that this influenced him when he wrote Jangpyeongosi in the 18th century. Lee Dong-yoon learned from Namdang Han Won-jin and Byeonggye Yoon Bong-gu and was greatly influenced by Yoogeundang Kim Gyo-haeng. In fact, ≪Minjaeyugo≫ contains a large number of writings related to that. There are many notable works such as memoirs about his wife and sisters or about Sir Yoogeundang, and this author expects that in-depth studies will be carried out about Lee Dong-yoon’s literature and thoughts afterwards.

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4

KIM, Jae Young, Hyeong Jun JO, Dae Hui JEONG, Dong Chan SON i Gyu Young CHUNG. "Validation of the name <i>Aster magnus</i> (Asteraceae)". Korean Journal of Plant Taxonomy 54, nr 2 (30.06.2024): 147–49. http://dx.doi.org/10.11110/kjpt.2024.54.2.147.

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<i>Aster magnus</i> Y. N. Lee & C. S. Kim, originally described from Jeju-do, Korea in 1998, was not validly published because two gatherings were simultaneously indicated as types in the protologue. The name is validated here by designating one new collection kept in Andong National University herbarium (ANH) as the holotype.

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5

Lee, si jong. "Historical Awareness and Struggle for Independence by Kim Dong-sam". Barun Academy of History 14 (30.03.2023): 7–49. http://dx.doi.org/10.55793/jkhd.2023.14.7.

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Born in Andong in Gyeonsangbuk-do in Korea, Kim Dong-sam (pen name: Ilsong) participated in Hyeoksin Yurim (referring to the innovative Confucians in Korean) with Yi Sang-ryong and Yu Insik among others. He also established the Hyepdong School and struggled against the tyranny of Japanese rule by serving as a member of the Andong Branch of Daehan Association, and the Daedong Young Man Group. After the fall of the Korean Empire, he sought asylum in Manchuria for the Korean armed independence movement. He engaged in many of the resolving struggles between Koreans who migrated earlier than 1910 and those who did so after 1910 in the organizations, including Gyeonghaksa, Gongrihoe, Bumindan, and Hanjokhoe, and made every effort to support their settlement and education. He also devoted himself to solving and settling conflicts with the Chinese. As the person recognized for his the military authority in the military organizations, including the Military School of the New Rising, Baekseo Nongjang, Sero Gunjeongseo, Daehan Tonguibu, he is highly thought of as an independent activist, who integrated and coordinated independence movement associations throughout Manchuria. It can be deemed that his consistent and tireless struggle was based on his strong will for liberation and was highly influenced by Daejongism. Yi Sang-ryong, Yu Insik, Shin Chae-ho, Yun Se-bok, who interacted with Kim Dong-sam, were closely related to Daejongism. Yun Se-bok recorded that Kim was the most important person in Daejongism and it can be also ascertained in the report written by the Empire of Japan. Before moving to Manchuria, Kim Dong-san was already aware of the historic view of Shin Chae-ho and of Dangunist (with Dangun referring to “the divine progenitor”) nationalism, which had transcended to attaining independence by armed independence struggles after entering asylum in the region. His belief in the armed independence movement had a great influence on the Korean National Party led by Kim Gu, which engaged in the independence movement inside of China and the Korean National Revolutionary Party by Kim Won-bong, which can be demonstrated by the memorial ceremony held by the two parties on a large scale after his death.

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6

Kim, Hwa-Bong. "A Study on the Evolutionary Process of Ddeulzip in Andong Kwon’s Family at Andong Cultural Area". Journal of architectural history 25, nr 2 (30.04.2016): 45–56. http://dx.doi.org/10.7738/jah.2016.25.2.045.

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Mukaromah, Ilham Khafizhotul, i Fardan Mahmudatul Imamah. "RITUAL TANAMAN ANDONG DAN KENTONGAN SEBAGAI PENGUSIR PEGEBLUK DALAM TRADISI ISLAM JAWA". Jurnal Ilmiah Ilmu Ushuluddin 20, nr 2 (30.12.2021): 159. http://dx.doi.org/10.18592/jiiu.v20i2.5851.

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This article examines the plague expulsion ritual that uses the Tanaman Andong and kentongan as a spiritual effort in dealing with the Covid-19 pandemic in Sumberejo Village, Kandat District, Kediri Regency. A series of rituals had been conducted for two years during the pandemic are believed as “laku batin’ to prevent the plague attack in the village. This research uses Clifford Geertz's thick description approach which will provide a complete picture of the ritual process, materials, meanings of symbols, and people's beliefs about the Tanaman Andong and Kentongan rituals. Researchers used descriptive ethnographic methods, observations and in-depth interviews toward ritual practicers. As a result, the ritual of Tanaman Andong and Kentongan is a kind of ijtihad by a villager who is then trusted by his closest family, followed by 15 heads of families. There are several rituals of the Tanaman Andong and kentongan, they are larung offerings, selametan suro, installation of tolak bala’ of turmeric and rajah, and the installation of cinde in houses. Tanaman Andong means "dong" which in Javanese is called "ngaweruhi", understanding all the guidance given by Allah. Kentongan is a symbol of vigilance, so that with all the ritual efforts, the people feel of confidence and of security when living during a pandemic

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8

Sung, in geun. "Formation and Development of Andong Kim s Seal style in the 16th-17th Century". Korean Society of Calligraphy 39 (28.09.2021): 119–47. http://dx.doi.org/10.19077/tsoc.2021.39.05.

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Kim, Sohee. "Andong Kim Clan Figures and Social Status in Chonui-hyon During the Early Joseon Dynasty". Journal of Humanities and Social sciences 21 12, nr 6 (30.12.2021): 2979–88. http://dx.doi.org/10.22143/hss21.12.6.209.

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Kim, yun-hee. "Contemplation on Yusanillok, a Gasa Poem by Kim Rak, a Woman Independence Activist from Andong, Korea". Korean Literature and Arts 22 (30.06.2017): 93–117. http://dx.doi.org/10.21208/kla.2017.06.22.93.

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Baek, Jiguk. "The Flow of Toegye's scholastic(退溪學派) in Changwon in the Late Jose on Dynasty". Institute of Korean Cultural Studies Yeungnam University 82 (31.12.2022): 419–50. http://dx.doi.org/10.15186/ikc.2022.12.31.16.

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The Confucian scholars in the Changwon area during the Joseon Era comprised the key personnel from the Youngnam's scholastic(嶺南學派) and Nammyeong's scholastic(南冥學派) as well as the Tonghongwon(通婚圈, district to select spouse) and structured its academic foundation. However, there has been certain difficulties to clarify the genealogy with the teaching-succession relationship with key personnel not so clear or it was confirmed during the current time period. After the Injobanjeong(仁祖反正), Nammyeong's scholastic collapsed and intellectuals in Changwon displayed the tendency of merged into Toegye's scholastic with Jeong Gooo(鄭逑) and Heo Mo(許穆)k leading the way. In particular, With the establishment of Hoewon Seowon(檜原書院) where Jeong Go and Heo Mok were served for rituals, the Toegye's scholastic succeeded in academic aspect while the position of Namin(南人) was clarified in political aspect. Thereafter, with the expansion of foundation for neo-Confucianism and effort of people in Chang won, a g roup of scholars, such as, Park Sin-yun, Kim Sang-jeong and others was encouraged for academic advancement at the end of the 17th century. Park Sin-yun and Kim Sang-jeong were scholars of Lee Hyun-il and Lee Seung-il brothers who were the intellectuals that linked Toegye School of the Andong area to the Chang won area. In particular, Kim Sang -jeong led the personal petition movement for Lee Hyun-il and Heo Mok tendency of Hoewon Seowon and so forth. Such attributes had important influence in establishing the academic and political identity in the Changwon area during the later Joseon Era. For intellectuals that represented Changwon in the late 19th century, there were Kim Gi-ho, Kim Man-hyun and others. They broadened the foundation of Confucian scholarship in Changwon through the teachings in the reg ion as the pupils of Heo Jeon. Especially, Kim Gi-ho formed Yocheonsisa to facilitate it as the place of exchange for the nearby Heo Jeon scholars and Changwon Confucian scholars. Furthermore, they educated the ensuing generation in Sosanjae, Yukyoungjae, Hyanggyo and others and they produced significant number of modern Confucian intellectuals.

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12

Im, Mihyun. "A Study of Chowon (蕉園) Kim Seok-shin (金碩臣)'s Life and Paintings: Focusing on Real Landscape Paintings of Suburbs of Old Seoul". Paek-San Society 127 (31.12.2023): 313–36. http://dx.doi.org/10.52557/tpsh.2023.127.313.

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Kim Seok-shin (⾦碩⾂, 1958~?) was born into a major family of painters during the Late Joseon Dynasty, Kaesung Kim family (開城⾦⽒), and was a painter of the court under the reign of Jeongjo and Sunjo. Although he was overshadowed by the fame of his uncle Kim Eung-hwan(⾦應煥, 1742?~1789) and brother Kim Deuk-shin (⾦得⾂, 1754~1822), he indeed was a capable painter with substantial talent in landscape painting. There are five pieces of true-view landscape paintings by Kim Seok-shin depicting the real landscape of suburbs of Seoul. Of these, Dobongdo (道峰圖), as its title suggests, appears to have been produced by Kim Deuk-shin upon the request of Dobongsan sightseeing by Criminal Judge Lee Jae-hak(李在學, 1745~1806) and Left Uijeong Seo Yong-bo(徐⿓輔, 1757~1824) in 1805 (Sunjo Year 5). Other paintings are also determined to have been painted at the same time as they depict scenic places around Seoul and the sizes and strokes are all similar. These paintings by Kim Seok-shin express popular spots of the Han River as realistically as possible and in an original way under direct and indirect influence by senior painters including Jung Seon (鄭敾, 1676~1759), Sim Sa-jung (沈師正, 1707~1769), Kim Eung-hwan, and Kim Hong-do (⾦弘道, 1745~1806?). Especially, apart from Kim Deuk-shin who was greatly influenced by Kim Hong-do, directly succeeding Kim Eung-hwan’s style, who had been influenced by Jung Seon and Sim Sa-jung, his style is more apparent in demonstrating Kaesung Kim family’s style, as well as the variety and process of change of landscape paintings during the Late Joseon Dynasty. Furthermore, his descendants continued to work as painters of the court as family business, lading to a conclusion that his painting style may have provided certain impact on establishing Kaesung Kim family’s style. In conclusion, Kim Seok-shin appears to have played a pivotal role in establishing Kaesung Kim family as a prestigious painters family, and substantially impacted the court painting style during the Postand Late Joseon Dynasty.

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이정희 i 노시우. "CI and BI Development for Industrialization Project of Andong Head Family food". A Journal of Brand Design Association of Korea 11, nr 4 (wrzesień 2013): 245–56. http://dx.doi.org/10.18852/bdak.2013.11.4.245.

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Kim, Il-Su. "Kim Jin-man's Anti-Japanese Independence Movement". Institute of Korean Cultural Studies Yeungnam University 82 (31.12.2022): 289–317. http://dx.doi.org/10.15186/ikc.2022.12.31.12.

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Kim Jin-man has been one of the representative literary painters of the 20th century who has established his art world through Sagunja painting and Gimyeongjeolji painting and influenced the flower bed for a long time since he had academic ability. In order to restore the independence of the Japanese colonial eran people and achieve national independence, he started the Reconstruction Achievement Friendship Association and the “Daegu Pistol Incident”. He was a representative anti-Japanese independence activist in Daegu in the 1910s who promoted the anti-Japanese independence movement. His anti-Japanese independence movement was inherited over three generations. Soon, he continued to his grandson Kim Il-sik, following his sons Kim Young-jo and Kim Young-ki. Through this, the Kim Jin-man family established the overall image of the three major independence movements. In addition, the three major independence movements of the Kim Jin-man family were consistent with the chang e in the route of the anti-Japanese independence movement in Japanese colonial era. The three major independence movements of the Kim Jin-man family have great implications for the direction that our society should view and predict even today in the 21st century.

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15

Kyungseon Baek. "A Study on the family discourse of Kim Suhyeon’s Family-dramas". Journal of Korean drama and theatre ll, nr 50 (grudzień 2015): 285–314. http://dx.doi.org/10.17938/tjkdat.2015..50.285.

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Kim, Min-ji. "The Family-minjung Community on Kim Namju’s poetry". Journal of korean language and literature 35 (31.08.2019): 71–102. http://dx.doi.org/10.24227/jkll.2019.08.35.71.

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Nugraha, Hendra. "REPRESENTATION OF KIM JONG-UN’S SUCCESSION IN BBC NEWS: A CRITICAL DISCOURSE ANALYSIS". JURNAL ARBITRER 3, nr 1 (20.04.2016): 27. http://dx.doi.org/10.25077/ar.3.1.27-35.2016.

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This research attempts to reveal representation of Kim Jong-Un’s succession in BBC News through textual and discursive practice analysis. The data of this thesis are taken from BBC News website on 29 and 31 December 2011. The theory applied to seek the objective of the research is Critical Discourse Analysis developed by Fairclough. Through textual and discursive practice analysis, the writer finds pthat BBC employs more passive material clauses than active material clauses in depicting Kim Jong-Un’s succession. BBC also represents Kim Jong-Un’s succession as premature process where Kim Jong-Un is portrayed as a young and inexperienced leader. Besides the prematurity of the succession, the present writer finds that BBC represents Kim Jong-Un’s succession as continuity of Kim’s family dynasty. Thus, the succession is based on his resemblance to Kim Il-Sung, the founder of Democratic People’s Republic of Korea, rather than Kim Jong-Un ability and competency.

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Kim, Mi-Seon. "The Literary Tradition of Kim Sung-Dal's Family and Kim Ho-Yeon-Jae, a Female Poet". Korean Thought and Culture 102 (31.12.2020): 7–38. http://dx.doi.org/10.31037/ktac.102.1.

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Kim, ki-young. "A review of Naebanggasa works of the Kim no-heon family of the Gwangsan Kim clan". Korean Language and Literature 125 (30.11.2023): 83–106. http://dx.doi.org/10.21793/koreall.2023.125.83.

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The fact that women in the Kim no-heon family have been creating Naebanggasa for generations is significant in that it led to the creation of modern Naebanggasa. Kim no-heon, whose pen name was Songseok, left behind a collection of works called 『Songseokyugo』. With his wife, Jeonju Yoo, he gave birth to four sons and two daughters. His wife, Jeonju Yoo, wrote Susimtan, his second daughter, Kim gi-rye, wrote Hoehongyeongchukga, and his granddaughter, Kim Seong-jong, wrote Susindonggyeongga. Susimtan is a work with a total of 114 lines and 231 phrases written by Jeonju Yoo in late spring of 1921 when she was 70 years old, lamenting the worries that settled in her heart. The root of her anxiety was, among other things, due to the fact that she had suffered from a disease in one of her legs, making my daily life become inconvenient. The work consists of 7 paragraphs. What is noteworthy in terms of the author's consciousness is that the location of her parents' house is conveyed from the perspective of aspect of geomantic theory of feng shui theory, and conveyed that his parents' family members are leading a comfortable life in a famous place. In terms of expression, it can be seen that various rhetorical techniques are used, including exclamatory endings. Hoehongyeongchukga is a song with a total of 106 lines and 201 phrases containing the contents of congratulating the party, when Kim no-heon and his wife held the wedding feast on March 17, 1927, their 60th wedding anniversary. The work consists of five paragraphs. Looking through her works, the author is identified as a woman with very high self-esteem, bright and energetic, and with a sense of honoring her family. In terms of her expression, she uses various rhetorical techniques alone or in combination to enhance her literary beauty. In addition, looking at the narrative of her work, it can be seen that she was influenced by Susimtan in the way she developed the poetic sentiment. Susindonggyeongga is a work of 98 lines and 191 phrases written by the author in 1912 celebrating the birthday party of her grandparents who celebrated their 60th birthday at the same age. The entire work consists of eight paragraphs. The author has a good sense of humor, and is a woman having a sense of honoring her family. In particular, through her works, the author's taoist consciousness is brought into focus. In terms of expression, it can be seen that she is enhancing her literary beauty through the use of various rhetorical techniques and word play. In addition, it is noticeable that she appropriately uses various poetic words cheering the atmosphere up throughout her work to convey the excitement of the party.

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Drynda, Joanna. "Migration and family in the works of Anna Kim". Transfer. Reception Studies 4 (2019): 179–97. http://dx.doi.org/10.16926/trs.2019.04.11.

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Shim, Woo-seop, i Young-gyu Kang. "A Study on -A new interpretation of the Monument to the Buddhist Master Jingyeong: The reality of the Imna royal family and the location of Imna, the ancestors of Master Jingyeong". Barun Academy of History 18 (29.02.2024): 37–82. http://dx.doi.org/10.55793/jkhc.2024.18.37.

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This study is about the ‘Imna royal family Chobalseongji (任那王族草拔聖枝)’ found in the epitaph of Buddhist Master Jingyeong. In the past, Japan claimed the Korean Peninsula as its former territory according to the contents of this inscription. In addition, Japanese and domestic scholars who directly or indirectly support <Imna Japan Headquarters> also misinterpret King Heungmu Kim Yu-sin as the ancestor of the Imna royal family based on the above information. However, there was a reason why they misinterpreted the inscription. It was a justification for invading the Korean peninsula called the ‘Jeonghan theory’ or ‘Japan's strategy for conquering Joseon’, which leapt to the wrong logic that it was justified for Japan to restore the Imna homeland since the Imna is the Gaya. ‘任那王族草拔聖枝’ should be interpreted as ‘Imna’s royal family Chobalseongji’ and ‘Chobalseongji’ should be viewed as a person. The Chobalseongji was the royal family of Imna in Japan, and they were harassed by neighboring countries. In addition, although the target of his surrender was Silla as a nation, the actual target was not a nation; it was King Heungmu Kim Yu-Sin. In other words, Chobalseongji of the Imna royal family surrendered himself to Kim Yu-sin and received the Shin Kim (新金) clan from the King of Silla. Later, his descendants appear to have taken root well in the land of Silla. As a result, it became the foundation for producing great figures such as the three members of the Shin Kim clan shown in epitaphs and chalju(a pillar) in the 8th and 9th centuries and Great Monk Jingyeong in the 10th century. Based on the above argument, we hope that this study will make it clear that the Gaya and the Imna were completely separate countries, and that Imna was a country within Japan.

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kim, Mi-Hye, i Hae-kyung Chung. "Study on Ritual Food Bulcheonwi's Commercialization of Andong Kwon Clans of Choongjae Kwonbeol's Head Family". Journal of the East Asian Society of Dietary Life 25, nr 4 (31.08.2015): 549. http://dx.doi.org/10.17495/easdl.2015.8.25.4.549.

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Kim, Hwa-Bong. "A Study on the Evolutionary Process of Ddeulzip in Euisung Kim's Family at Andong Area". Journal of architectural history 23, nr 2 (30.04.2014): 25–37. http://dx.doi.org/10.7738/jah.2014.23.2.025.

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Kim, Yulhee. "A Study on the Relationship between Kim Dongmin's Family and the Situation before and after the Opening of the National Gugak Center during the Korean War". National Gugak Center 48 (31.10.2023): 9–36. http://dx.doi.org/10.29028/jngc.2023.48.009.

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This study examines the history of the National Gugak Center, which opened in Busan, the temporary capital during the Korean War. Due to a lack of historical records in this period, it analyzes the oral records about Kim Dongmin, who provided a temporary office for Guwanggung aakbu (舊王宮雅樂部) for about three months right after evacuation, to establish the influence of the Kim Dongmin's family that affected the birth of the National Gugak Center. The oral materials of Kim Dongmin and Son Jaesook, which serve as the basic material for this study, were recorded by the folk music scholar Lee Bohyeong in 1991. They show in detail the relationship between Kim Dongmin and the early days of the National Gugak Center. Based on them, this study summarizes the circumstance at that time by reviewing Kim Cheonheung's book, the National Gugak Center's 50th and 70th anniversary collections, and newspaper articles. Then, an oral interview was conducted with Kim Dongmin's eldest daughter, Kim Ongyeong, to cross-verify the facts. The results of this study are as follows. First, the National Gugak Center was provided with a temporary office at Kim Dongmin's house at 6 Toseong-dong 3ga, Seo-gu, Busan, from the end of December 1950 until its official opening in April 1951. Second, after the opening of the National Gugak Center, the first dance class for beginners was held by Kim Dongmin's Folk Dance Research Institute. Third, in 1952, when Busan's first dance play, Chunhyangjeon, was performed on 'the 1st Folk Dance Presentation', the musicians of the National Gugak Center, including Sung Kyungrin and Kim Chunheung, were in charge of the commentary and accompaniment. This fact played an important role in the birth of the National Gugak Center, and can be seen to be due to the passion and support of Kim Dongmin, a lover of Korean traditional music and instigator of the Korean traditional music enlightenment movement. In summary, Kim Dongmin greatly influenced the development of the National Gugak Center in Busan by providing a place for dance lessons and holding collaborative performances. This study is meaningful in that it newly established the situation before and after the opening of the National Gugak Center, which has not been well known so far, and shed new light on its historical significance.

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McCaw, Kim. "Winnipeg Close-ups / 3, Seizing the Centre". Canadian Theatre Review 66 (marzec 1991): 25–31. http://dx.doi.org/10.3138/ctr.66.005.

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Kim McCaw was born in 1952 in Prince Albert, Saskatchewan, where he lived until his family moved to Saskatoon when he was twelve years old. It was while at high school in Saskatoon that Kim discovered his interest in the theatre, an interest he continued to pursue when the family later moved to Regina. After high school Kim enrolled in the bfa program at the University of Victoria and two years later he was accepted at the National Theatre School, from which he graduated in 1974. The following couple of years he spent as an actor living in Toronto, returning to Regina when Ken Kramer offered him a job in the Globe Theatre’s school tour. It was in Regina that Kim began directing and soon he was hired both as an actor and a director at the Globe. After the untimely death of Sue Kramer, Kim and his wife, the actor Linda Huffmann, were appointed associate directors of the Globe Theatre. In 1983 Kim arrived in Winnipeg to take on the responsibilities of artistic director of the Prairie Theatre Exchange. Here he began creating serious opportunities for local writers. Plays by David Arnason, Sandra Birdsell, Patrick Friesen, Wendy Lill, Bruce McManus and others were staged, telling stories growing out of life in Manitoba. The result of this programming was enthusiastic attention from both the press and audiences. The pte subscription list grew in leaps and bounds and the intimate 200-seat theatre in the old Exchange building at 160 Princess Street began to feel tight.

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Chizhova, Ksenia. "North Korean Calligraphy: Gender, Intimacy, and Political Incorporation, 1980s–2010s". Journal of Korean Studies 27, nr 2 (1.10.2022): 275–304. http://dx.doi.org/10.1215/07311613-9859837.

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Abstract A ubiquitous part of everyday life, North Korean calligraphy is an easily overlooked and yet integral element of the country’s mass mobilization art. Under the curation of Kim Jong Il (Kim Chŏngil, 1941–2011), calligraphy was mobilized as a mechanism for the articulation of organistic national unity centered on the ruling Kim family and captured through the idea of the “social and political living body” (sahoe chŏngch’i chŏk saengmyŏngch’e), which mediated the familial transition of power. Cultivating penmanship identical to that of his father and expanding the hagiographic project around the revolutionary calligraphy of his parents, Kim Il Sung (Kim Ilsŏng, 1912–94) and Kim Jong Suk (Kim Chŏngsuk, 1917–49), Kim Jong Il worked out an image of charismatic familial embodiment by means of the script. In addition, calligraphy constitutes a disciplinary apparatus that coordinates performances of political intimacy, bodily training, and political interpretation within the space of everyday life. Drawing on the North Korean calligraphy textbooks, art periodicals, and visual archive, this article contextualizes the dichotomy of the idiosyncratic style of the male leaders and the feminized, ubiquitous Ch’ŏngbong style, connected with the figure of Kim Jong Suk. Special attention is given to the body symbolism and somatic discipline of North Korean calligraphy, which underlie its political efficacy as inscriptional and hermeneutic practice.

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김세호. "The Cultural History of Enjoying Plum Blossom by Andong Gim's Family in 17th and 18th Centuries". Journal of Korean Literature in Classical Chinese ll, nr 63 (wrzesień 2016): 39–65. http://dx.doi.org/10.30527/klcc..63.201609.002.

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Kim, Hwa-Bong. "A Study on the Changing Process of Ddeulzip in Jinsung Lee's Family at Andong Cultural Area". Journal of architectural history 22, nr 1 (28.02.2013): 15–27. http://dx.doi.org/10.7738/jah.2013.22.1.015.

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Kim, Hwabong. "A Study on the Changing Process of Ddeulzip in Jaeryoung Lee's Family at Andong Cultural Area". Journal of architectural history 24, nr 2 (30.04.2015): 45–54. http://dx.doi.org/10.7738/jah.2015.24.2.045.

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Theodora, Melisa, Nina Siti Salmaniah Siregar i Taufik Wal Hidayat. "Analisis Semiotika Pada Film Parasite Dalam Makna Denotasi Konotasi Dan Pesan Moral". Jurnal Antropologi Sumatera 19, nr 2 (31.05.2023): 119. http://dx.doi.org/10.24114/jas.v19i2.43926.

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Semiotic Analysis on Parasite Film is the title in this study. Parasite is a film that tells about the social inequality that occurs between the lives of two families (the Park and Kim families) who have very different economies. The Park family is a very wealthy family living in large and elite housing while the Kim family is a family whose family members are unemployed poor and live in a small semibasement house at the end of the road. The conditions experienced by the Kim Family made them try to get out of their poor life by tricking the Park Family. The storyline of this film finally made the writer interested in researching this film with the aim of analyzing the semiotic meaning of denotation and connotation as well as taking moral messages that can be taken from this film where the Parasite film has a storyline that describes human life today. This study uses Roland Barthes' Semiotic Theory. The unit of analysis in this research is the film parasite, where the author takes 10 scenes that the writer will examine. The data collection technique that the writer uses is by watching the original film that is neither cut nor censored from start to finish, observing the scenes the author studies, conducting direct interviews with informants and observing the film. This study uses a descriptive research methodology with a qualitative approach. The author also tests the validity of the data by testing the credibility or trust in the data by triangulating data sources and checking the data by conducting interviews with informants directly and asking questions related to films that help research.

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Levdanskaya, N. A. "Kim Koval: born to create". Iskusstvo Evrazii [The Art of Eurasia], nr 3(18) (30.09.2020): 132–43. http://dx.doi.org/10.46748/arteuras.2020.03.011.

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The author presents an analytical review of the exhibition dedicated to the 90th anniversary of the birth of the Honored Artist of Russia, Honored Artist of the RSFSR Kim Koval. The article describes the creative path of the painter, the specifics of his artistic method. The exposition presents 52 paintings of the 1950–1990s from the collection of the Primorye State Art Gallery and the collection of the artist's family. The exhibition shows etudes for some of the works of K. Koval, the location of which is currently unknown. Автор представляет аналитический обзор выставки, посвященной 90-летию со дня рождения заслуженного деятеля искусств России, заслуженного художника РСФСР Кима Петровича Коваля. В статье изложен творческий путь живописца, описана специфика его художественного метода. В экспозиции представлено 52 живописные работы 1950–1990-х годов из собрания Приморской государственной картинной галереи и коллекции семьи художника, в том числе этюды к некоторым произведениям, местонахождение которых на данный момент неизвестно.

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박수희. "Court painters from Gaesung Kim Family in Late Joseon Dynasty". KOREAN JOURNAL OF ART HISTORY 256, nr 256 (grudzień 2007): 5–35. http://dx.doi.org/10.31065/ahak.256.256.200712.001.

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Suswadi, A. S. Vinolia, A. Prasetyo, R. D. Kartikasari i Mahananto. "Analysis of organic rice farming contribution to farmer household income in Andong Village, Boyolali Regency". IOP Conference Series: Earth and Environmental Science 905, nr 1 (1.11.2021): 012078. http://dx.doi.org/10.1088/1755-1315/905/1/012078.

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Abstract This study was aimed to determine the income of organic rice farming in Andong Village, Boyolali Regency, and find out how much organic rice farming contributes to household income. The location was determined purposively and sampling was done by random method. Data were analyzed on farm income, non-farming income, and the contribution of organic rice farming to family income. The result of this study shows that the contribution of organic rice farming to farmer householf income is 65.45%, while income generated from other job is only contribute to 34.55%. According to the analysis, it can be concluded that rice organic farming is feasible to be applied and resulting better income to the farmer.

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Kim, So Hee. "The main literature and value of Kim Jong-jik"s family of Seonsan Kim Clan in Goryeong area". Journal of History and Practical Thought Studies 76 (30.11.2021): 117–47. http://dx.doi.org/10.31335/hpts.2021.11.76.117.

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Nilsrakoo, Weerayuth, i Satit Saejung. "Strong Convergence Theorems for a Countable Family of Lipschitzian Mappings". Abstract and Applied Analysis 2010 (2010): 1–17. http://dx.doi.org/10.1155/2010/739561.

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We modify the iterative method introduced by Kim and Xu (2006) for a countable family of Lipschitzian mappings by the hybrid method of Takahashi et al. (2008). Our results include recent ones concerning asymptotically nonexpansive mappings due to Plubtieng and Ungchittrakool (2007) and Zegeye and Shahzad (2008, 2010) as special cases.

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36

Heri Isnaini, Sifa Khaerunnisa i Kalyska Khusnul Khotimah. "Analisis Kepribadian Kim Ji Young Dalam Budaya Patriarki: Analisis Teori Sigmund Freud Dalam Film “Kim Ji Young, Born 1982”". Morfologi: Jurnal Ilmu Pendidikan, Bahasa, Sastra dan Budaya 1, nr 6 (14.11.2023): 48–58. http://dx.doi.org/10.61132/morfologi.v1i6.82.

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This study aims to explore an in-depth understanding of Kim Ji Young's personality in the film "Kim Ji Young, Born 1982" in the context of patriarchal culture using Sigmund Freud's psychoanalytic theory. The research method used is a qualitative method using note-taking technique. We used Sigmund Freud's theory, specifically concepts such as id, ego, and superego, to help us understand the inner conflict experienced by the main character. We also analyzed various events in the film that depict Kim Ji Young's experience as a woman in a society dominated by patriarchal values. The results of this study show that Kim Ji Young experiences complex internal conflicts while performing her role as a woman in a patriarchal culture. Freud's theory helps us understand how these conflicts arise and affect her personality. In addition, this study also emphasizes the important role of family environment, society, and childhood experiences in shaping Kim Ji Young's personality. This research has important implications in understanding the role of women in a patriarchal society and how psychoanalytic theory can be used to analyze characters in works of art such as films.

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IM, MI-HYUN. "A Study on Landscape Paintings of Geungjae (兢齋) Kim Deuk-shin (金得臣, 1754-1822)". Institute of History and Culture Hankuk University of Foreign Studies 88 (30.11.2023): 191–224. http://dx.doi.org/10.18347/hufshis.2023.88.191.

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Geungjae (兢齋) Kim Deuk-shin (金得臣, 1754-1822) is known as one of the three genre painters along with Kim Hong-do (金弘道, 1745-1806?) and Shin Yun-bok (申潤福, 1758-1817 afterwards) or only as a painter who had been largely influenced by Kim Hong-do. In fact, he was a 44-year veteran Dohwaseo painter who had participated in important national art projects. Aside from his famous genre paintings, his extraordinary talent in portraits, landscapes, birds and animals, and flowers and animals established him as one of the best painters during the period. Especially, his results in Nokchwijae (祿取才: the state examination for court painters) demonstrates his ability in landscape painting among other themes as well as how much recognition he received at the time; some of these works are currently available. Kim Deuk-shin’s landscape paintings carry two styles of landscape painting in Late Joseon Dynasty: literati landscape painting of the ideal and conceptual landscape and true-view landscape painting that painted mountains and rivers in Korea. This allows better understanding of his diverse works, as well as the variety of trends and transformations of the landscape painting in the Late Joseon Dynasty. In addition, compared to other themes such as genre, figure painting of Taoism and Buddhism, birds and animals, and flowers and animals that had been apparently influenced by Kim Hong-do’s style, his landscape painting has a different pattern due to being directly and indirectly influenced by a number of preceding painters including Jeong Seon (鄭敾, 1676-1759), Sim Sajeong (沈師正, 1707-1769), Kim Eung-hwan (金應煥, 1742?-1789), and Kim Hong-dothat were largely established in the area of landscape painting At the same time, it is also possible to observe the Gaeseong Kim family’s painting style from Kim Deuk-shin’s landscape paintings as they show association with those of his uncle Kim Eung-hwan, brother Kim Seok-shin (金碩臣, 1958-?) and Kim Ha-jong (金夏鍾, 1793-1875 afterwards). Kim Deuk-shin’s landscape painting style may have been passed on to Kim Seok-shinand Kim Ha-jong through secondary influence from Kim Eung-hwan, who was influenced by Jeong Seon and Sim Sajeong. Based on this, his landscape painting style appears to have had a significant influence on the establishment of the painting style within the Gaeseong Kim family and on later generations of court painters.

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장윤수. "A Study on Diary of the Kim Family of Fung-San". 한국학논집 ll, nr 68 (wrzesień 2017): 237–69. http://dx.doi.org/10.18399/actako.2017..68.008.

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Diguères, Édouard des. "Russell M. Jeung, Seanan S. Fong, Helen Jin Kim, Family Sacrifices." Archives de sciences sociales des religions, nr 196 (4.12.2021): 312–13. http://dx.doi.org/10.4000/assr.64859.

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Kendall, Laurel. ": Faithful Endurance: An Ethnography of Korean Family Dispersal . Choong Soon Kim." American Anthropologist 91, nr 3 (wrzesień 1989): 811. http://dx.doi.org/10.1525/aa.1989.91.3.02a00690.

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Jeong, Min-gu. "An Aspect of the Family Thought in Kim, Su-young’s Poetry". Journal of korean language and literature 35 (31.08.2019): 5–37. http://dx.doi.org/10.24227/jkll.2019.08.35.5.

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KIM, MYUNG-HYE. "Faithful Endurance: An Ethnography of Korean Family Dispersal . CHOONG SOON KIM". American Ethnologist 18, nr 3 (sierpień 1991): 629. http://dx.doi.org/10.1525/ae.1991.18.3.02a00370.

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Sun, Yong, Wei-Ping Kuang i Zhi-Hong Liu. "Subordination and superordination results for the family of Jung-Kim-Srivastava integral operators". Filomat 24, nr 1 (2010): 69–85. http://dx.doi.org/10.2298/fil1001069s.

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In this paper, we derive some subordination and superordination results associated with the family of Jung-Kim-Srivastava integral operators defined on the space of meromorphic functions. Several sandwich-type results are also obtained. 2010 Mathematics Subject Classifications. Primary 30C45; Secondary 30C80. .

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44

Heer, Henriette, Gary McGuire i Oisín Robinson. "JKL-ECM: an implementation of ECM using Hessian curves". LMS Journal of Computation and Mathematics 19, A (2016): 83–99. http://dx.doi.org/10.1112/s1461157016000231.

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We present JKL-ECM, an implementation of the elliptic curve method of integer factorization which uses certain twisted Hessian curves in a family studied by Jeon, Kim and Lee. This implementation takes advantage of torsion subgroup injection for families of elliptic curves over a quartic number field, in addition to the ‘small parameter’ speedup. We produced thousands of curves with torsion$\mathbb{Z}/6\mathbb{Z}\oplus \mathbb{Z}/6\mathbb{Z}$and small parameters in twisted Hessian form, which admit curve arithmetic that is ‘almost’ as fast as that of twisted Edwards form. This allows JKL-ECM to compete with GMP-ECM for finding large prime factors. Also, JKL-ECM, based on GMP, accepts integers of arbitrary size. We classify the torsion subgroups of Hessian curves over$\mathbb{Q}$and further examine torsion properties of the curves described by Jeon, Kim and Lee. In addition, the high-performance curves with torsion$\mathbb{Z}/2\mathbb{Z}\oplus \mathbb{Z}/8\mathbb{Z}$of Bernsteinet al. are completely recovered by the$\mathbb{Z}/4\mathbb{Z}\oplus \mathbb{Z}/8\mathbb{Z}$family of Jeon, Kim and Lee, and hundreds more curves are produced besides, all with small parameters and base points.

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Lee, Dong-soon. "Family Narrative in Korean Modern History - Focusing on the Family History of Author Chin-sop Kim -". Korean Society of Culture and Convergence 39, nr 4 (30.08.2017): 313–38. http://dx.doi.org/10.33645/cnc.2017.08.39.4.313.

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ZHOU, YANYAN, i DÁVID RÉDEI. "A new synonymy in East Asian Urostylididae (Hemiptera: Heteroptera)". Zootaxa 4504, nr 1 (23.10.2018): 145. http://dx.doi.org/10.11646/zootaxa.4504.1.10.

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Urostylididae is a moderately species-rich family of phytophagous, mainly arboricolous pentatomoid true bugs (Hemiptera: Heteroptera) currently comprising 8 genera and 172 species (Rider et al. 2018). All described species occur in Asia, but undescribed taxa are present in Madagascar (P. Štys, pers. comm.). The present short paper was prompted by a recent contribution by Kim et al. (2018), who reviewed the species of the genus Urostylis Westwood, 1837, occurring in Korea, including the description of a purportedly new species, U. koreana Kim & Jung, 2018. The identity of the latter species is clarified below, with proposal of a new subjective synonymy.

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Roch, Loïc M., i Kim K. Baldridge. "Correction: General optimization procedure towards the design of a new family of minimal parameter spin-component-scaled double-hybrid density functional theory". Physical Chemistry Chemical Physics 20, nr 6 (2018): 4606. http://dx.doi.org/10.1039/c8cp90025f.

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Correction for ‘General optimization procedure towards the design of a new family of minimal parameter spin-component-scaled double-hybrid density functional theory’ by Loïc M. Roch and Kim K. Baldridge, Phys. Chem. Chem. Phys., 2017, 19, 26191–26200.

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48

Son Byung-Giu. "The change of succession and family shape in latter term of Chosun dynasty: From family register and genealogy record of Andong Kwon family who lived in Dansung Hyun". DAEDONG MUNHWA YEON'GU ll, nr 61 (marzec 2008): 375–404. http://dx.doi.org/10.18219/ddmh..61.200803.375.

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ZHENG, FANG-QIANG, JIAN-PING SHI i YAN DANG. "A new species of the genus Mongolotettix Rehn, 1928 from Hubei, China (Acrididae, Acridoidea, Orthoptera)". Zootaxa 4250, nr 2 (4.04.2017): 198. http://dx.doi.org/10.11646/zootaxa.4250.2.6.

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The genus Mongolotettix Rehn, 1928 is a small genus of family Adrididae. It has nine species discovered from the Far Eastern Asian countries, including China, Japan, Korea, Mongolia, and Russia [Bolívar, 1898; Uvarov, 1914; Caudell, 1921; Chogsomzhav, 1974; Li et Lian, 1994; Wan, Ren et Zhang, 1998; Xie et Li, 2000, Kim et Kim 2005; Dong, et al, 2015; Shi et al, 2016; Storozhenko, 2016; Eades et al, 2017; Zhang et al, 2017]. In the present paper, we describe a new species of the genus from Hubei, China. Type specimens are deposited in the College of Plant Protection, Shandong Agricultural University, Taian, Shandong, China.

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Beck, Peter M. "North Korea in 2010". Asian Survey 51, nr 1 (styczeń 2011): 33–40. http://dx.doi.org/10.1525/as.2011.51.1.33.

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The North killed 50 South Koreans in two audacious strikes, revved up its nuclear programs, and prepared for a third generation of Kim family rule. At the same time, a tight embrace of China still means hardship and hunger for millions of North Koreans.

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