• Title/Summary/Keyword: 국립대학교

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Genetic and Environmental Effects on the Lactation Yield and Milk Compositions in Holstein Cow (Holstein종 유우(乳牛)의 비유량(泌乳量) 및 유조성분(乳組成分)에 미치는 유전(遺傳) 및 환경(環境)의 효과(效果))

  • Sang, Byong Chan;Seo, Kil Woong
    • Korean Journal of Agricultural Science
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    • v.21 no.1
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    • pp.45-53
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    • 1994
  • This study was conducted to estimate the genetic and environmental effects on lactation yield and milk compositions in Holstein cows. The data analysis were the records of 159 cows rearing at Nation Animal Breeding Institute from 1990 to 1991. The least square means were estimated on milk and fat yield in lactation yield, and the percent of fat, protein, solids-not-fat and total solid in milk composition. The results obtained are summarized as follows: 1. The average yield of milk and fat in 305 days were $7,26.56{\pm}3,57.24$ and $254.65{\pm}44.94Kg$ and the percent of fat, protein, solids-not-fat and total solid were $3.69{\pm}0.43$, $3.32{\pm}0.41$, $9.15{\pm}0.49$ and $12.75{\pm}0.96$ and the coefficients of variation were 18.68, 17.64, 11.88 and 12.34% for milk yield, fat yield, fat percent and protein percent, respectively. 2. The effect of sires was highly significant at 1% level in milk and fat yield and fat percent, and significant at 5% level in protein and total solid percent. Among the sires, B, L and O sire were superior in milk yield with 7,571.22, 7,499.11 and 7,420.58 Kg, and A, F and K sire were superior in protein percent with 3.75, 3.64 and 3.65, respectively. 3. The effect of parity was highly significant at 1% level in milk yield, and significant at 5% level in fat yield. Among the parities, the 3rd parity was superior in milk and fat yield with 7,634.54 and 274.98 Kg, and the 4th and over was superior in fat and protein percent with 3.90 and 3.50, respectively. 4. The effect of calving seasons was highly significant at 1% level in milk yield, and significant at 5% level in fat yield, and the percent of fat, protein and total solid. Among the calving seasons, spring and winter were superior in milk yield with 7,310.31 and 7,364.57 Kg, also spring and winter were superior in protein percent with 3.68 and 3.52, respectively.

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Research Trends of Home Economics Education Ph. D. Dissertation (가정과교육 관련 박사학위논문 연구동향)

  • Yu, In-Young;Bae, Hyun-Young;Lee, Jong-Hee;Min, Eun-Hye;Choi, Mi-Sun;Cho, Jae-Soon
    • Journal of Korean Home Economics Education Association
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    • v.20 no.4
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    • pp.239-252
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    • 2008
  • Doctoral professionals who majored Home Economics Education are relatively rare and recently have been produced in a limited number of institutions. The purpose of this paper was to analyze the Ph.D. Dissertation majored in Home Economics Education by research subjects and methods. Just twenty dissertations published in domestic universities were selected through internet search to be analyzed in this paper. This research showed five research subject areas of the dissertation such as core concepts and perspectives, curriculum, teaching and learning, teachers empowerment, and others. Each subject had three to five references and time difference in publication. The research subject related to concepts and perspectives was more likely to be studied in an early stage, followed by the subject of curriculum. The research subject became to be varied to teaching and learning and teachers empowerment areas. The research methods were associated with the research subject, as expected. Literature analysis was common in the subject on concepts and perspectives, curriculum, and textbook analysis, while survey was in teachers empowerment. Teaching and learning subject used various research methods together. Numerous dissertation with variety of research subjects and methods would be expected to be followed to develop research on Home Economics Education.

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A Definition of an Employee under the Trade Union Act in Japan (일본 노동조합법상의 근로자 개념 - 최고재판소 판례법리를 중심으로 -)

  • Song, Kang-Jik
    • Journal of Legislation Research
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    • no.41
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    • pp.337-366
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    • 2011
  • In this article, I intend to analyze the definition of an employee under the Trade Union Act in Japan. Recently, the Supreme Court of Japan held that not only opera singer but also customer engineer is an employee under the Act. Conclusions are as follows:First, it is noteworthy that the Supreme Court reaffirmed the principle of all circumstances established by CBC case. The case focused on deciding that who is an employee under the Act. Notwithstanding this holding of the Supreme Court, district courts and courts of appeals, in deciding this kind of question, have emphasized especially on the side of a legal right and obligation on a contract between an employer and a potential employee. Therefore an independent contractor has not been generally recognized as an employee under the Act. However, even though he or she was, as an independent contractor in name, offering its work to his or her putative employer, the Supreme Court applied the principle of all circumstances to both cases and held in favor on the workers on April, in 2011. Second, the Supreme Court failed to make a general legal principle for deciding that who is an employee under the Act. According to the above holdings of the Supreme Court, nobody can anticipate wether he or she is an employee or not in a concrete case. Finally, the Supreme Court did not also make its opinion clearly about the relations between an employee of the Section 3 of the Act and an employee whom an employer employs under the Section 7(2) of the Act. In conclusion, it can be said that the Supreme Court has narrowly and strictly interpreted an employee of the Section 3. That is to say, only where an employee is recognized as an employee of the Section 7(2), the employee will be also an employee of the Section 3. In Japan, however, the majority interprets that an employee by the Section 3 should be distinguished from the employee whom an employer employs by the Section 7(2). Consequently, according to the majority opinions, unemployed persons, students and citizens will be also included in the definition of an employee by the Section 3.

A Study on the Characteristics and the Kiln Site of Production of the Buncheong Ware Excavated from the Placenta Chamber (Taesil) in Seongju during the Reign of King Sejong (1418-1450) in the Joseon Dynasty (세종대(1418~1450) 성주 세종대왕자(世宗大王子) 태실(胎室) 출토 <분청사기 상감연판문 반구형뚜껑>의 제작 특징과 제작지 고찰)

  • AHN, Sejin
    • Korean Journal of Heritage: History & Science
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    • v.54 no.4
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    • pp.192-211
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    • 2021
  • In Seongju, Gyengsangbuk-do, the Placenta Chamber (胎室, Taesil) of 18 sons and a son of the crown prince of King Sejong(世宗大王) is located in one place. Taesil refers to the place where the umbilical cord and placenta, which are separated when the baby is born, are placed in a jar made of pottery and stone box and then buried on the ground. The placenta chamber in Seongju has the Buncheong ware (粉靑沙器) cover buried on the ground to protect the baby's placenta. These covers are all hemispherical, with a diameter of more the 20cm. The decorations were made using black and white inlaid techniques only on the outside. The Buncheong ware cover with this shape and pattern has been confirmed only in the placenta chamber in Seongju. This study targets 6 of the Buncheong ware cover whose owners were identified, when and where they were prepared, what the stylistic features and meanings are, and where it was produced. The results of the study are as follows. First, ss a result of reviewing the production background and procurement system of this bowl, it was inferred that it was sourced from Jangheunggo (長興庫) at the central government office, between 1436 and 1439, when the event to bury the placenta of royal members in the ground was the most active. Second, it analyzed the unique features of this cover, such as the shape, pattern, and baked traces. The shape and pattern were compared to the ritual objects contained in the Sejong Silok Oryeui (『世宗實錄』 「五禮」, Five Rites of King Sejong Chronicle) and the lid of the royal placenta jar made in the 15th and 16th centuries. Third, this study suggests that the baking method was based on the shape and location of the traces remaining outside the cover. Finally, the following data were used to estimate the production site: the relationship with the 'Jagiso (磁器所, ceramic workshop) registered in the Sejong Silok Jiriji (『世宗實錄』 「地理志」, Geographical Appendix of King Sejong Chronicle); various records of contribution and dedication about the Buncheong ware made here; and the Buncheong ware and related tools excavated from the kiln site in the area. The place where the Buncheong ware cover was produced is estimated to be the most likely production site for the kiln site in Chunghyo-dong Kiln Site, located in Jeolla-do province by synthesizing the data above.

National brand development research strategy using traditional Korean patterns (한국 전통 문양을 활용한 국가 브랜드 연구 개발 전략 - 금문(錦紋)을 중심으로 -)

  • KIM, Mihye
    • Korean Journal of Heritage: History & Science
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    • v.54 no.4
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    • pp.232-245
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    • 2021
  • The present study is about a brand development strategy that utilizes Korean traditional patterns. The global culturenomics phenomenon confirms the value of the cultural aspects of design when a national brand is established. People succeed with their unique aesthetic sense and reinterpret it in a modern view, and this design acts as today's national brands. In this way, people used traditional patterns and original designs, along with regional characteristics and formative style, in developing their designs. However, due to recent changes in the global environment, modern people live in an "untact" world, and consumption culture shifted toward online marketing. In this environment, where one is isolated from social activities, there needs to be a strong image that can dramatically change the mood of one's home. I would like to re-examine the Dan-Chung pattern, whose painting depends on the aesthetic characteristics of architecture to protect the wooden members of the framework in traditional architecture. The pattern and color of Dan-Chung, coated in traditional architecture, differs by the type of construction used, which includes a palace, a Buddhist temple, and a Confucianism Dan Chung. The Geummoon pattern contains aesthetic factors to add solemnity to the Main Buddhist Halls, which contain Buddha. This is a new medium that continues the current traditions instead of remaining in the past. Among different Dan Chung patterns, Geummoon has magnificent decoration consisting of the highest grade materials and unique composition; therefore, it is suitable to be reinterpreted in modern terms. The same pattern can be interpreted in different ways with different colors, so there is a great aesthetic impression in the Geummoon pattern. The value of preservation for exploration and theoretical study of the traditional pattern is important, but recreating the pattern into modern formative art can present a new angle of view and national brand, bearing pride in our cultural assets. The study used multidimensional molding methods for realistic presentation after going through the two-dimensional design process. The significant value of Korean molding beauty which hangs onto the past will play a crucial role in establishing our national brand.

Expressions of the , Owned by the Onyang Folk Museum Haeju's Scenery and Customs in the Late Joseon Dynasty (온양민속박물관 소장 <해주팔경도(海州八景圖)>에 표현된 조선 후기 해주의 풍경과 풍물)

  • RHO, Jaehyun
    • Korean Journal of Heritage: History & Science
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    • v.54 no.4
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    • pp.36-59
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    • 2021
  • This study infers the origin and production period of the , which is in the Onyang folk museum, through analysis and interpretation of the Haeju Palgyeong and exploration of the landscapes and traditions contained in the painting. The first collection of landscapes to Haeju was identified as Haeju Palgyeong by Ku Sa-meng (1531-1604). Yoo Man-ju, writing in 1782, referred to it as Go-palgyeong in 『Heumyeong』 while Haeju Palgyeong was defined as Geum-palgyeong (今八景), which is the Haeju Palgyeong in the earliest period confirmed by literature. is 'Boating on the Nam river (南江泛舟)', 'Lotus viewing at Buyongdang (芙蓉賞蓮)', 'Foot washing at Gwangseokcheon (廣石濯足)', 'Seokbyul at Haeunkyo (泣川送客)', 'Fishing at Haeunjeong (東亭釣魚)' and 'Sea view at Namsan( 南山望海)', and the final two contain a picture that contains 'Viewing the moon at Yeonghaeru (瀛海玩月)' and 'Writing contest and Archery at Baeklimjeong (栢林觀德)' The Suyang Chaemi(首陽採薇), Shingwang-jeoljeol (神光霽雪), and Jiseong falls (池城瀑布) of Gopalgyeong, which were excluded from Haeju Palgyeong, are all landscapes unfolding as a grand site of Suyangsan Mountain. is a result of the reorganization of Seunggyeong centered on Eupchi (邑治), away from the Suyangsan area. It has emerged as a seunggyeong of Haeju. The elaborateness of trying to contain the detailed prizes representing Haeju, such as the specialty sake of Haeju, is revealed. Most of the landscapes depicted in are historic and outstanding spots in Haemok, but the scenes of life related to daily life are properly arranged. In addition, Foot washing (濯足), Fishing(釣魚), Doing laundry (漂母), Lotus viewing (賞蓮), Sending guests (送客), Drinking (飮酒), sea viewing (望海), Moon viewing (玩月), Archery (射藝), Poetry (詩作), Drinking tea (飮茶), and Dancing (歌舞) are of various styles. Compared with the Gopalgyeongs, Haeju Palgyeong did not take into account the distribution of landscapes in the four seasons, and the small-sized view was also broken. When considering the time of the construction of Haeunjeong and the deterioration of Yeonghhoeru, it is believed that was produced in the early- to mid-18th century. is considered to be a painting that contributed to strengthening the sense of intimacy with the local people and promoting the pride of Haeju by showing the representative scenery of Haeju, such as scenic spots and customs, away from the ideal utopia.

A Study on a Drainage Facility of the Western Shore in Wolji Pond (월지(月池) 서측 호안의 출수시설(出水施設)에 관한 고찰)

  • Oh, Jun-Young
    • Korean Journal of Heritage: History & Science
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    • v.51 no.3
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    • pp.72-87
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    • 2018
  • This study highlights a drainage gate and a ditch, which existed around the whole area of the western shore of Wolji Pond(月池) and focuses on a possible connection between the drainage facility on the western shore and the historical drainage system of Wolji Pond. Specifically, it primarily considered locations and the form of a drainage gate, the relationship between northwestern ditch of Wolji Pond and the drainage gate, and the establishment period and the character of the drainage facility on the western shore. The drainage gate found in excavation in 1975 is determined as the same facility as Surakgu(水落口) recorded on an actual measurement drawing, 1922. Therefore, it is highly probable that there were already the drainage facility in the western shore of Wolji Pond before the 1920s. The drainage gate constructed by processing rectangular stones has four drainage holes for controlling water level. The way of the drainage through the drainage holes is the same as that of the northern shore of Wolji Pond. From a cadastral map drawn in 1913, it is found that the ditch existed in northwest of Wolji Pond. The ditch was proximate to the drainage gate and shared the same axes. Hence, the ditch and the drainage gate are determined as a organic facility connected to the drainage system of Wolji Pond. In particular, the ditch existed in northwest of Wolji Pond is the basis for judging that the drainage facility in the western shore were established before the 1910s. Water flowed in through drainage holes of the drainage gate is drained into the northwest of Wolji Pond, through the ditch. The establishment period and the intention of the drainage facility on the western shore can be interpreted in two aspects. First, they might be 'a agricultural irrigation facility in the Joseon era', given that Wolji Pond was recorded as a agricultural reservoir, and that the whole northwestern area of Wolji Pond was used as farm land areas. Second, they might be 'a drainage facility for controlling the water level in creating Wolji Pond', given that the drainage gate was annexed to the lower shore forming the waterline of Wolji Pond, and that the hight of drainage holes on top of the drainage gate was similar to the full water level of Wolji Pond. Considering the related grounds and circumstance, the latter possibility is high.

A Study on the Continuous Utilization of Japan's Cultural Heritage Through the Cases of Silk Heritage, World Heritage, and the Japan Heritage Project in Gunma Prefecture (일본 문화유산의 연속적 활용에 관한 연구 - '군마 실크유산'과 세계유산, 일본유산 사업을 중심으로 -)

  • Lee, Chungsun
    • Korean Journal of Heritage: History & Science
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    • v.52 no.1
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    • pp.190-211
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    • 2019
  • In March 2015, The Agency for Cultural Affairs of Japan implemented a project called "Japan Heritage," which aims to promote the unique narratives of cultural properties of the region by branding the locality for revitalization in preparation for the 2020 Tokyo Olympics and Paralympics. This bottom-up approach of cultural policy has been called a "Cool Japan Strategy of Cultural Heritage" in the 21st century, which effectively incorporates local cultural heritage and tourism. However, although a total of 67 Japan Heritage projects have been designated as of December 2018, almost none has been introduced in the academic forum in Korea. On the basis of this background and a lack of academic awareness in Korea on Japan's recent cultural policies, this research aims to focus on the three cases of Gunma Prefecture implemented in local, global, and glocal aspects. To specify, the cases are the "Gunma Silk Heritage" project, implemented in 2011, the "Tomioka Silk Mill and Related Sites" project that was included on the UNESCO World Heritage List in 2014, and "The Best Wife in the World - Silk Story of Gunma," case certified as the first project of "Japan Heritage" launched in 2015. Based on the questionnaire method conducted with the World Heritage Registration Promotion Division in Gunma Prefectural Government, as well as a literature view, the research revealed that the consecutive implementation of a series of cultural heritage projects in Gunma is not coincidental, but rather a strategy aiming to create a synergism where each project complements the others. Moreover, this paper demonstrates that Gunma Prefecture has been utilizing the local silk industry as a tangible and intangible cultural resource in multi-layered heritage projects, resulting in a "spiral synergy effect" and a "chain of the recognition process." In conclusion, it illustrates the recent trend of utilizing cultural heritage in the context of the Cool Japan strategy, which seeks to move away from the administration of maintaining the status quo cultural heritage protection to a proactive one with greater potential growth. This research may thus provide meaningful insight into the utilization of domestic historical and cultural resources as well as related policy-making, in that it will ultimately promote the chain effect of linking the multiple heritage policies and projects at the local, global, and glocal levels.

Study on Deriving the Items related to Investigation and Planning for the Comprehensive Maintenance Plan of Scenic Sites (명승 종합정비계획 수립을 위한 조사 및 계획 항목의 도출에 관한 연구)

  • Lee, Jae-Yong
    • Korean Journal of Heritage: History & Science
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    • v.51 no.3
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    • pp.88-103
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    • 2018
  • The purpose of this study was to excavate the items of the comprehensive maintenance plan for scenic sites considering sustainability and analyze the needs of them. In this sense, based on 35 reports of the comprehensive maintenance plan established between 2006, when scenic sites started to be designated, and 2017, the items used in 'investigation field' and 'planning field' were examined, and then a survey regarding the needs of the items was conducted using a "5-point Likert Scale", targeting officials at 60 local governments in the whole country. Of 60 local governments, opinions from 48 officials at 45 local governments were analyzed. In order to verify the consistency of their opinions, "Reliability Analysis" was conducted, and Cronbach's alpha coefficient was 0.968 and 0.970 for 'investigation field' and 'planning field', respectively, showing high reliability. As a result of the survey, most opinions generally expressed the needs of 6 items of 'investigation field' of the comprehensive maintenance plan. Especially, the needs to investigate 'historical environment', 'natural environment', 'humanistic environment', and 'landscape' turned out to be high. In addition, as for 'general environment' and 'users', the needs of specific items such as 'distribution of main cultural properties and historic sites' (4.04) and 'acceptance of opinions from local residents and interested parties' (4.15) were found to be high. Besides, the items of 'planning field' also turned out to be needed in general (4.0). Particularly, the needs of 'enhancement of designated value and status' (4.26) and 'the comprehensive maintenance plan for designated areas of cultural properties and historic and cultural environment preservation areas' (4.25) in 'historical environment', 'maintenance of historic buildings at scenic sites' (4.28) in 'humanistic environment', and 'landscape trail planning' (4.28) in 'landscape' were found to be high. In conclusion, the practical items related to investigation and planning of the comprehensive maintenance plan for scenic sites are expected to contribute to effective conservation and management of scenic sites in the future.

Mid-Silla Buddhist Art of Bunhwangsa Temple Seen through the Record of Samgukyusa (『삼국유사』를 통해 본 분황사(芬皇寺)의 중대신라 불교미술)

  • Choe, Song-eun
    • Korean Journal of Heritage: History & Science
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    • v.47 no.4
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    • pp.136-161
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    • 2014
  • This paper investigates the Buddhist sculpture and wall-painting enshrined in the halls of Bunhwangsa (Bunhwang temple) at Gyeongju in the mid-Silla period, which are thoroughly unknown to us except through textual records of Samgukyusa compiled by Priest Ilyeon in the late thirteenth century. According to Samgukyusa, a clay portrait-sculpture of Monk Wonhyo, made by his son Seolchong, was placed in Bunhwangsa. This image faced to the side, because he turned his body toward Seolchong when Seolchong bowed to this image. This story suggests that the portrait image of Wonhyo was most likely made after the Vimalakirti images, which were popular in China from the Six Dynasties period on, especially the Vimalakirti images of the early Tang period, turning his head and body toward Bodhisattva Manjusi seated opposite. The Vimalakirti image of Seokkuram might show the portrait image of Wonhyo. A wall-painting of a Thousand-Armed Avalokiresvara who has a thousand arms with a thousand eyes, called by the name 'Great Mercy with a Thousand Hands', was enshrined on the north wall of the left hall of Bunhwangsa. During King Gyeondeok's reign, Himyeong and her five-year-old blind child prayed before this image, and the blind child gained eyesight. While praying, they sang a song pleading for one of the thousand eyes which the Bodhisattva had in his hands. This song implies that Thousand-Armed Avalokiresvara had a thousand eyes, one painted on each hand. The fact that Thousand-Armed Avalokiresvara of Bunhwangsa was called 'Great Mercy with a Thousand Hands' indicates that this painting was based on the scripture Thousand-Armed Avalokiresvara Sutra translated by Bhagavaddharma in about 655, in the Tang period, which also has 'Great Mercy' in its title. In the year 755, a gilt bronze image of Medicine Buddha was made in Bunhwangsa, using nearly 61 tons of bronze to cast. The huge amount of bronze suggests it includes not only the Buddha statue but many other images such as two attendant Bodhisattvas of Suryaprabha and Candraprabha, Eight Great Bodhisattvas, or Twelve Guardians. Seven images of Medicine Buddha might have been made in accordance with the scriptural text of Seven Medicine Buddha Sutra translated by Monk Yijing. Textual evidence and recent excavation have revealed that seven images of Medicine Buddha and their whole attendant images based on Seven Medicine Buddha Sutra were made in the Nara period from 751 to 762 when Queen Gomyo contructed Sinyakusiji temple for the recovery of her husband Shomu. It is fair to assume that one or seven Medicine Buddhas and a whole group of his (their) attendant images were made for the main hall of Bunhwangsa temple in 755.