• Korean Journal of Heritage: History & Science
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• v.54 no.4
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• pp.90-111
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• 2021

Seojangdaeyajodo is a drawing of Jangyongyoung's military night training on February 12 (lunar leap month), 1795. Focusing on the Seojangdaeyajodo, the positions and roles of the low-ranking soldier belonging to Jangyongyoung, and the composition and characteristics of military uniforms for each role were examined. The results ascertained by the historical research on the military uniforms are as follows. Deungronggun, noeja, sunryeongsu and daegisu who were placed in front of the king's Seojangdae were the low-ranking soldiers belonging to Jangyongyoung. The soldiers who escorted the king around Seojangdae were lowranking soldiers belonging to Jangyongyoung. The military uniform of the deungronggun was consisted of a jeolrip, a black heopsu, red gweja, indigo jeondae, white haengjeon and black shoes. The low-ranking soldier's heopsu suggested that it could also be a sochangui. He carried a sword and a red lantern. Noeja were divided into a sinjeonsu and a jujangsu. The military uniform of the noeja was consisted of a Jujeolrip, a black heopsu, red gweja, indigo jeondae, white haengjeon, and black shoes. Sunryeongsu were divided into a sinsigisu and a younggisu. The military uniform of the sunryeongsu was consisted of a jeongeon, a black heopsu, red gweja, indigo jeondae white haengjeon and black shoes. He carried a sword and a red lantern. The military uniform of the daegisu was consisted of a jeongeon, a black heopsu, blue gweja, indigo jeondae, white haengjeon and black shoes. He carried a sword and a flag. The soldiers surrounding Seojangdae and the seongjeonggun defending the fortress were the Chogun. The military uniform of the chogun was consisted of a jeolrip, a black heopsu, houi, indigo jeondae, white haengjeon and straw shoes. Houi was applying the five directional colors: the east is blue, the west is white, the south is red, and the north is black. He carried a sword and a gun. It was presented as an illustration of costumes that could produce contents by reflecting on these historical results. The basic principle of the illustration was to present the standards for 3D content production or actual production. Samples of form, color, and material according to the times and status were presented. The front, the side, and the back of each costume and the feature were presented, and the colors were presented in RGB and CMYK.

• 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.

• Journal of vocational education research
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• v.37 no.5
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• pp.25-53
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• 2018

The purpose of this study is to find out the improvement plan through the satisfaction survey of the trainees involved in vocational training fraud preventive education. In order to do this, we conducted a satisfaction survey(4,263 persons) of 5,939 people who participated in the prevention education conducted by group education or e-learning in 2017. Finally we collected 4,237 effective responses data. Descriptive statistics and the regression analysis were conducted. The finding of the study were as follows. First, the education service quality(4.42), satisfaction level(4.44), understanding level(4.44) and help level(4.45) were significantly higher than those of participants in the preventive education 4 and above. Second, e-learning participants' perceived level of education service quality, satisfaction, comprehension, and help was higher in all variables than collective education's. Third, all of the sub-factors of preventive education service quality influenced satisfaction, understanding, and help in collective education and e-learning, respectively. In the collective education, the contents of education had the greatest influence, and in e-learning, the data composition had the greatest influence. Fourth, desirable education contents were cases of fraud training(70.7%), disposition regulations(47.9%), NCS course operation instructions(32.8%) and training management best practices(32.4%). Additional requirements also included the establishment of an in-depth course, the provision of anti-fraud education content for trainees, and screen switching and system stability that can be focused on e-learning. Therefore, this study suggests that first, it is necessary to activate e-learning for prevention education more, reflecting satisfaction of e-learning is higher than that of collective education. Second, it is necessary to diversify the content of preventive education and to provide it more abundantly, because it has the biggest influence in common with the satisfaction, understanding and help level of the preventive education. Third, education content next, the factors that have a relatively big influence on satisfaction are shown as delivery method and education place in the collective education. Therefore, it is necessary to prepare education place considering the assignment of instructor and convenience. Fourth, constructing data next, the factor that have a relatively great influence on understanding and help are found to be operator support, and more active operator support activities are required in e-learning. Fifth, it is required to delivery prevention activity for trainees participating in vocational training. Sixth, it is necessary to analyze the educational need to construct the contents of preventive education more systematically.

• Journal of Korean Theatre Studies Association
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• no.49
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• pp.5-47
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• 2013

Among the styles of performing arts, perhaps the genre that has attracted the largest audience would be musical. Popularity of musical has brought diverse changes in our performing arts market, and, upon emerging another musical genre, called 'Korean Traditional Musical Comedy,' it has been well-received by the audiences. 'Korean Traditional Musical Comedy' is a word that are formed by merging two other terms such as 'Korean Traditional Music' and 'Musical (Comedy).' In the meantime, however, it has yet some problems in order to be defined as the genre that has concrete concepts. It is because the term such as Korean Traditional Musical Comedy was created being closely associated with a marketing purpose rather than a term that defines the characteristics of a genre of performing arts. Although this new musical genre has drawn attentions of many audiences by adding 'Musical Comedy' to 'Korean Traditional Music' that was not quite popular to the public, it still does not have any established forms so that there is a fine line between "Korean Traditional Musical Comedy" and another genre like traditional style folk opera ("Changgeuk"). Looking at the characteristics of the musical work called 'Korean Traditional Musical Comedy, in general, first of all, it is a performance where music and drama are played. Here, the distinctive characteristic of this musical is that 'Korean Traditional Music' is sung. And the kinds of Korean traditional musics being sung are mainly Pansori (dramatic story-singing) and folk-songs, and, in most cases, Korean traditional musical instruments are being used as accompanying music. In this paper, the researcher investigated the aspects of experiment centering around Korean Musical Group, Taroo. These days, various experiments has been repeated not only for the works of Taroo but other musical work presently called 'Korean Traditional Musical Comedy' also. Having encompassed overall performance factors including use of musical instruments, dance, acting, materials for drama as well as music in drama, the researcher has gone through experiments repeatedly. Meanwhile, however, the subject matters that make 'Korean Traditional Musical Comedy' mostly attractive to the audiences are music and songs or sounds. ["Sori" also called "Chang" (唱)] Particularly, under the current situation of our musicals, the role of "Sori" is extremely important. The factor that plays absolutely most important role in acceptance and transformation of "Sori" is the created Pansori. Since the created Pansori is composed with new rhythmic patterns and new narrative poems, it tells the present story. Also it draws good responses from the audiences owing to easy conveyance of dialogues. And, its new style brings diversification to organization of musical instruments, so then this leads to the arrangements of music for Korean traditional music instruments, as well as instrumental music ensemble, orchestra, and jazz band, etc. Likewise, upon appearing creative musics in 'Korean Traditional Musical Comedy,' professional music and vocal compositions have begun to emerge naturally. And, the song specialist and writer, of course, staffs including direction, lighting, and sounds, etc are required. That is, professional composition method are forced to be introduced to all areas. Other than this, there are many music pieces which are based on our unique songs and sounds ("Sori") and such traditional factors as use of lead singer for ceremony or chorus, and the method that puts weight on Pansori. Accordingly many things accomplished. However, it is required that 'Korean Traditional Musical Comedy' go through numerous discussions and more experiments. Above all, the most important things are the role of actor and actress, and their changes, and training of actor and actress further. Good news is there are good audience responses. 'Korean Traditional Musical Comedy' is an open genre. As musicals are divided into several domains according to the characteristics thereof, 'Korean Traditional Musical Comedy' will be able to show its distinctive features in various styles according to embodiment.

• Korean Journal of Breeding Science
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• v.43 no.5
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• pp.430-441
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• 2011

Maize is divided into two types based on the starch composition of the endosperm in the seed, normal maize(or non-waxy maize) and waxy maize. In this study, genetic diversity and population structure were investigated among 80 waxy maize and normal inbred lines(40 waxy maize inbred lines and 40 normal maize inbred lines) using 50 SSR markers. A total of 242 alleles were identified at all the loci with an average of 4.84 and a range between 2 and 9 alleles per locus. The gene diversity values varied from 0.420 to 0.854 with an average of 0.654. The PIC values varied from 0.332 to 0.838 with an average of 0.602. To evaluate the population structure, STRUCTURE 2.2 program was employed to confirm genetic structure. The 80 waxy and normal maize inbred lines were separated with based on the membership probability threshold 0.8, and divided into groups I, II and admixed group. The 13 waxy maize inbred lines were assigned to group I. The 45 maize inbred lines including 7 waxy maize inbred lines and 38 normal maize inbred lines were assigned to group II. The 22 maize inbred lines with 20 waxy maize inbred lines and 2 normal maize inbred lines were contained in the admixed group. The cluster tree generated using the described SSR markers recognized three major groups at 31.7% genetic similarity. Group I included 40 waxy maize inbred lines and 11 normal maize inbred lines, and Group II included 27 normal maize inbred lines. Group III consist of only 2 normal maize inbred lines. The present study has demonstrated the utility of SSR analysis for the study of genetic diversity and the population structure among waxy and normal maize inbred lines. The information obtained from the present studies would be very useful for designing efficient maize breeding programs in Maize Experiment Station, Kangwon Agricultural Research and Extension Services.

• Korean Journal of Breeding Science
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• v.42 no.5
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• pp.547-554
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• 2010

Low-molecular-weight glutenin subunit (LMW-GS) in common wheat (Triticum aestivum L.) is important for quality processing of bread and noodles. The objectives of this study were to clarify the composition of LMW-GSs and to identify their corresponding proteins. Using LMW-GS specific primers we cloned and characterized 43 LMW-GS genes in the wheat cultivar 'Jokyoung'. Some of these genes contain polypeptides different in size due to the presence of various deletions or insertions within repetitive and glutamine-rich domains. The comparison of deduced amino acid sequence of the LMW-GS genes in Jokyoung with that of 12 groups LMW-GSs of wheat cultivar Norin 61 showed that the deduced amino acid sequences were nearly the same to LMW-GS groups of 1, 2, 3/4, 5, 7, 10 and 11. All LMW-GS genes contain eight cysteine residues, which are conserved among all of the typical LMW-GS sequences. The relative positions of cysteine residues are also conserved, except those of the first and seventh. Based on phylogenetic analysis, the 43 sequences with the same N-terminal and C-terminal amino acid sequences were clustered in the same group. To identify the proteins containing the corresponding amino acid sequences, we determined the N-terminal amino acid sequence of 7 spots of LMW-GSs of Jokyoung separated by two-dimensional gel electrophoresis (2DE). Of them, Glu-B3 (LMW-m and LMW-s) and Glu-D3 (LMW-m) were detected in two and three spots, respectively and the others were not clear. Collectively, we classified diverse LMW-GSs and identified their corresponding protein products. These results will be helpful in breeding programs for improvement of wheat flour quality.

• The Korean Journal of Archival Studies
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• no.16
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• pp.201-256
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• 2007

Nowadays Korean main archives and manuscript repositories are planning to develop archival information service for students and teachers in their web sites. This study is aimed at discovering main issues of developing archival information service for students and teachers and finding a solution. The goal of archival information service for students and teachers is the promotion of use through launching service and the gradual growth of archival management program. The customer group is segmented into the students and teachers who are learning and teaching Korean history in classroom. As a result of analyzing curriculum and educational environment, the archival information must be developed into teaching-learning materials. And the processing archival information into archival content is needed. Consequently the character of archival information service for students and teachers is conceptualized as archival content service for teaching-learning materials. At every step of developing archival content service for teaching-learning materials, the next main points are considered and achieved. First, the strategy of customer-focused service must be the same from beginning to end. Second, the growth of traditional archival management(e.g. classification, description and finding aids) must be contributed. Third, the collaboration system leading by professional education staff must be organized. Fourth, the archival information must be related with teaching-learning activities. Fifth, the quality of content is more important than the quantity of it. Sixth, the networking with another agencies for cooperation must be considered.

• Korean Journal of Environment and Ecology
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• v.33 no.1
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• pp.28-51
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• 2019

The purpose of this study was to analyze forest vegetation structure in Marugeum (the ridge line) area between Dakmokryeong and Daetjae in Baekdudaegan through vegetation classification, importance value, species diversity, and CCA using the data that were collected from 245 quadrates through Braun-Blanquet vegetation survey method from May to September in 2017. The results of the forest vegetation classification identified 8 vegetation units with Quercus mongolica community group at the highest level. Q. mongolica community group was classified into the Cornus controversa community, Buxus koreana community, Sasa borealis community, Abies nephrolepis community, and Q. mongolica typical community. C. controversa community was further classified into Quercus dentata group, Filipendula glaberrima group, Larix kaempferi group, and C. controversa typical group. The result of the important value analysis showed that Q. dentata had the highest importance value at 19.1% in vegetation unit 1 while Q. mongolica had the highest importance value at 22.7%, 38.3%, 25.6%, 41.3%, 27.9%, and 41.6% in vegetation unit 2, 4, 5, 6, 7, and 8, respectively, and L. kaempferi had the highest importance value at 27.6% in vegetation unit 3. As such, Q. mongolica species generally represented the communities of Marugeum (the ridge line) area of Dakmokryeong to Daetjae in Baekdudaegan. The results of species diversity showed that vegetation unit 1 and 2 were 3.305 and 3.236, respectively, which were relatively higher than other vegetation units. It was considered that this result was due to the influence of high emergence of present species. The results of the CCA analysis of the correlations between biotic environmental factors and vegetation types showed that vegetation unit 1 was mainly correlated with the megaphanerophyte ratio and vine plant ratio. In the correlations between abiotic environmental factors and vegetation types, vegetation unit 7 was significantly correlated with altitude. From the perspective of ecological management, vegetation unit 5 represented by B. koreana community was inhabited by a variety of plants due to the species composition and location environment due to the geological characteristics that are typical of limestone area. Vegetation unit 7 represented by A. nephrolepis community was typified as subalpine vegetation widely distributed by relict species and endemic species. We concluded that it is necessary to manage these vegetation units with an ecologically differentiated approach.

• Korean Journal of Heritage: History & Science
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• v.47 no.2
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• pp.86-113
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• 2014

This study has researched the characteristics and elements of Chwibyeong (翠屛), a sort of trellis in the Joseon Dynasty through the old documents, and the original form of Chwibyeong at Juhapru (宙合樓) in Changdeuk Palace. The results were as follow. First, as the result of literatures analysis for Imwon-gyeongje-ji (林園經濟志) and Jeungbo-sallim-gyeongje (增補山林經濟), the plant screen was classified as kinds of support[frame] material, plants and methods of planting. It was found that the supports of Chwibyeong were made of bamboo or the material such as the Jinjangmok (眞長木: a stick of oak) and Giryu (杞柳: Salix purpurea var. japonica). The evergreen coniferous trees including Pinus densiflora, Taxus cuspidata and Thuja orientalis were mainly used for the plant material of Chwibyeong. The general planting method of Chwibyeong was to plant on the ground, but sometimes the container planting was also found on the artificial ground. Second, the term of 'Chwibyeong' in the literatures was used in only the screen made by evergreen trees, and the superordinate category term of it was indicated by 'byeong (屛)'. Therefore Chwibyeong was a compound word formed from 'chwi (翠)' which means the characteristics of evergreen and 'byeong' as tree screen which the support was made by bamboo. And Chwibyeong had semantic context which was combined with the literary symbolization to describe a landscape of green peak and Taoist ideology be inherent from 'twelve peaks of Musan[巫山十二峰]' in Sichuan sheng (四川省). Thirdly, the photograph of Chwibyeong at Juhapru taken by the 1880s, showed that Chwibyeong was made with coniferous trees and was almost 2 meters high. The Chwibyeong at Juhapru was removed during the Japanese colonial era, but a few yew trees(Taxus cuspidata) used for Chwibyeong are still remaining. And some Juniperus chinensis which the composition time is unclear, were cultivated while hung loose its branchs at the sides of Eosumun (魚水門). This Junipers were presumed to be planted by Japanese after Japanese annexation of Korea(1910), and it was judged that both of the roofs of Eosumun's side gates might have been transformed into Japanese style at the same time. Lastly, Chwibyeong at Juhapru was restored in 2008 but it was restored in wrong way from original form without precise research. Especially Chwibyeong was restored with Sasa boreralis which is damaged by frost, so it requires exertion that should revive the originals to plant original material as much as possible. And it needs the development of fabrication technique for Chwibyeong and the application to current landscape architecture.

• Korean Journal of Heritage: History & Science
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• v.51 no.4
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• pp.120-145
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• 2018

This study intended to examine the drainage facility of Gyeongbokgung Palace based on the traces of the relic found during the excavation survey. Historical records indicate that various efforts have been made for smooth drainage facility for the palace since the foundation of the Joseon Dynasty. Although there are no drawings showing the image of early appearance of Gyeongbokgung Palace during the foundation, it is possible to estimate it through the drawings prepared after the King Yeongjo's reign. The image of the palace after reconstruction can be seen through the "Bukgwoldohyeong" and other relevant documents. At this present, since the survey intends to determine the image of Gyeongbokgung Palace during the reign of King Gojong based on the standard restoration plan of the Cultural Heritage Administration, this study also focused on the drainage facility of Gyeongbokgung Palace during King Gojong's reign, particularly on the collecting wells and culverts of six areas including "Chimjeon Hall", "Taewonjeon Hall", "Geoncheongung Hall", "Sojubang Hall", "Hamhwadang - Jipgyeongdang - Yeonghundang Hall", and "Heungbokjeon Hall". Gyeongbokgung Palace is divided into various zones composed of the central halls and surrounding corridors, and the drains also primarily start from each hall and later join the central drain of the zone. The central drain then leads to the "Eo-gu(御溝)" and the water led to the "Eo-gu" is finally discharged through the water gate. It appears that this series of processes were basically devised to coordinate artificial drain with the natural drain using the natural geographical features of the palace. Research showed that the collecting well where the draining begin was installed in the area where a large amount of household sewage was generated but mostly in the corners where corridors met or corridors and wall met. This appears to be an arrangement to handle the water falling from the roof and household sewage. Also, "Ju(廚)" was installed mainly at the end of the corridor to handle household sewage. The installation of these drainage facilities shows the possibility that the drainage of Gyeongbokgung was very compact under a series of plans.