• Journal of Practical Agriculture & Fisheries Research
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• v.20 no.2
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• pp.57-72
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• 2018

In order to extract meaningful information from the excellent farming settlement cases of young farmers published by KNCAF, we studied the key words with text mining and created a word cloud for visualization. First, in the text mining results for the entire sample, the words 'CEO', 'corporate executive', 'think', 'self', 'start', 'mind', and 'effort' are the words with high frequency among the top 50 core words. Their ability to think, judge and push ahead with themselves is a result of showing that they have ability of to be managers or managers. And it is a expression of how they manages to achieve their dream without giving up their dream. The high frequency of words such as "father" and "parent" is due to the high ratio of parents' cooperation and succession. Also 'KNCAF', 'university', 'graduation' and 'study' are the results of their high educational awareness, and 'organic farming' and 'eco-friendly' are the result of the interest in eco-friendly agriculture. In addition, words related to the 6th industry such as 'sales' and 'experience' represent their efforts to revitalize farming and fishing villages. Meanwhile, 'internet', 'blog', 'online', 'SNS', 'ICT', 'composite' and 'smart' were not included in the top 50. However, the fact that these words were extracted without omission shows that young farmers are increasingly interested in the scientificization and high-tech of agriculture and fisheries Next, as a result of grouping the top 50 key words by crop, the words 'facilities' in livestock, vegetables and aquatic crops, the words 'equipment' and 'machine' in food crops were extracted as main words. 'Eco-friendly' and 'organic' appeared in vegetable crops and food crops, and 'organic' appeared in fruit crops. The 'worm' of eco-friendly farming method appeared in the food crops, and the 'certification', which means excellent agricultural and marine products, appeared only in the fishery crops. 'Production', which is related to '6th industry', appeared in all crops, 'processing' and 'distribution' appeared in the fruit crops, and 'experience' appeared in the vegetable crops, food crops and fruit crops. To visualize the extracted words by text mining, we created a word cloud with the entire samples and each crop sample. As a result, we were able to judge the meaning of excellent practices, which are unstructured text, by character size.

• Journal of Practical Agriculture & Fisheries Research
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• v.20 no.1
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• pp.35-47
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• 2018

A edible mushroom, Clitocybe maxima (Lentinus giganteusis) commercially cultivated in China and Taiwan. However, the researches of cultivation and cultural characteristics were not reported in Korea. In this study, we conducted on cultural characteristics and artificial cultivation of C. maxima. Six isolates were collected from China(3 isolates, commercial strain), Taiwan(1 isolate, commercial strain) and Korea(2 isolates, wild type). C. maxima and L. giganteus collected in China and Taiwan, respectively, are the same in China and are estimated to be of the same species as cultured characteristics. The mycelial growth of the collected strains was not significantly different in agar medium but it showed the best growth in YPMG in liquid culture. Optimum temperature for mycelial growth and induction of fruit body were 25℃ and 30℃, respectively. In order to artificial cultivation of C. maxima, cultural characteristics and artificial cultivation were carried out using agricultural by-products and forestry by-products materials. Mycelial growth was suitable in rice straw, cottonwood sawdust, corncob and rice seed medium, and it was selected as a cultivation medium. The suitable medium for artificial cultivation of C. maxima was selected to mixed medium 2(compounding ratio(v/v): 55% of hardwood sawdust, 5% of cottonseed pellets, 10% of cottonseed, 15% of beet pulp, 15% of swollen rice husks). It took about 30 days to be able to harvest, it was faster than oyster mushrooms. The cultivation period was about 30days. A isolate, CMA-002 was not initiation to fruit body primordiuma on the used cultivation substrate. Other 5 isolates were initiate and development to fruit body on the substrate used in this study. The strain CMA-003 was initiated to be fruiting body by 8~10 days after induction of fruiting body in all of the substrates. Isolate CMA-003 was generate to a bundle fruit body. Other isolates, however, were form fruit body individually. The CMA-003 strain was likely highly recommendable strains for farming. The optimum conditions for the induction and growth of C. maxima fruit body were 25~30℃, 8 hr illumination per day with white fluorescent lamp, 90~95% relative humidity, and 1,500 ppm of CO₂ concentration in a cultivation room.

• Journal of Technology Innovation
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• v.31 no.3
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• pp.39-73
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• 2023

The field of Management of Technology(MOT) emerged in response to the need for research management within U.S. public research institutions during the 1960s. Since its inception, it has proliferated significantly, being practiced in more than 809 institutions globally and over 19 institutions in Korea, encompassing both research and educational endeavors. Particularly noteworthy is the substantial investment of government resources, primarily channeled through the Ministry of Industry since 2007, which has expeditiously established a comprehensive framework for cultivating graduate-level MOT expertise, marked by both quantitative and qualitative advancements. The educational curriculum in the realm of Korean MOT deviates from foreign counterparts through distinctive pathways, exemplified by its emphasis on industry practice-oriented educational programs, standardization and isomorphism across different schools, as well as its interconnectedness with proximate academic disciplines. This research systematically undertakes an analysis of the curriculum in Korean MOT graduate schools, thereby ascertaining its intrinsic identity and distinct attributes. In this endeavor, a comprehensive examination of eleven principal MOT textbooks(three in Korean and eight in English) is conducted to delineate the primary content of the curriculum across seven thematic domains. Moreover, the study deliberates on its differentiation from neighboring academic disciplines and the definitional attributes of MOT. Subsequently, this analysis also encompasses nine Korean MOT graduate programs, projecting the seven thematic domains onto their respective curricula. The findings illuminate that within the context of Korean graduate programs, a substantial proportion of the curriculum, amounting to 62.5%, is dedicated to facets encompassing the operational aspects of technology management within corporate contexts, technology management specific to varying industries and technologies, and collaborative endeavors between academia and industry in the form of projects and seminars. Evidently, the Korean approach to technology management education is notably geared towards the cultivation of adept practitioners capable of executing technology management functions at a mid-tier managerial level, aligned with the exigencies of regional industries. Grounded in the analysis of technology management curricula, this study extrapolates implications for the future trajectory of MOT education in Korea, encompassing a consideration of the stages of industrial development. It underscores the necessity to augment the educational curricula pertaining conceptual foundation of technology and innovation, strategic perspectives of technology and innovation, and the socio-economic context of technology management.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.123-154
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• 2019

Ancestral Burial Ground on the Inwangsan Mountain is a ten-panel folding screen with images and postscripts. Commissioned by Bak Gyeong-bin (dates unknown), this screen was painted by Jo Jung-muk (1820-after 1894) in 1868. The postscripts were written by Hong Seon-ju (dates unknown). The National Museum of Korea restored this painting, which had been housed in the museum on separate sheets, to its original folding screen format. The museum also opened the screen to the public for the first time at the special exhibition Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea held from July 23 to September 22, 2019. Ancestral Burial Ground on the Inwangsan Mountain depicts real scenery on the western slopes of Inwangsan Mountain spanning present-day Hongje-dong and Hongeun-dong in Seodaemun-gu, Seoul. In the distance, the Bukhansan Mountain ridges are illustrated. The painting also bears place names, including Inwangsan Mountain, Chumohyeon Hill, Hongjewon Inn, Samgaksan Mountain, Daenammun Gate, and Mireukdang Hall. The names and depictions of these places show similarities to those found on late Joseon maps. Jo Jung-muk is thought to have studied the geographical information marked on maps so as to illustrate a broad landscape in this painting. Field trips to the real scenery depicted in the painting have revealed that Jo exaggerated or omitted natural features and blended and arranged them into a row for the purposes of the horizontal picture plane. Jo Jung-muk was a painter proficient at drawing conventional landscapes in the style of the Southern School of Chinese painting. Details in Ancestral Burial Ground on the Inwangsan Mountain reflect the painting style of the School of Four Wangs. Jo also applied a more decorative style to some areas. The nineteenth-century court painters of the Dohwaseo(Royal Bureau of Painting), including Jo, employed such decorative painting styles by drawing houses based on painting manuals, applying dots formed like sprinkled black pepper to depict mounds of earth and illustrating flowers by dotted thick pigment. Moreover, Ancestral Burial Ground on the Inwangsan Mountain shows the individualistic style of Jeong Seon(1676~1759) in the rocks drawn with sweeping brushstrokes in dark ink, the massiveness of the mountain terrain, and the pine trees simply depicted using horizontal brushstrokes. Jo Jung-muk is presumed to have borrowed the authority and styles of Jeong Seon, who was well-known for his real scenery landscapes of Inwangsan Mountain. Nonetheless, the painting lacks an spontaneous sense of space and fails in conveying an impression of actual sites. Additionally, the excessively grand screen does not allow Jo Jung-muk to fully express his own style. In Ancestral Burial Ground on the Inwangsan Mountain, the texts of the postscripts nicely correspond to the images depicted. Their contents can be divided into six parts: (1) the occupant of the tomb and the reason for its relocation; (2) the location and geomancy of the tomb; (3) memorial services held at the tomb and mysterious responses received during the memorial services; (4) cooperation among villagers to manage the tomb; (5) the filial piety of Bak Gyeong-bin, who commissioned the painting and guarded the tomb; and (6) significance of the postscripts. The second part in particular is faithfully depicted in the painting since it can easily be visualized. According to the fifth part revealing the motive for the production of the painting, the commissioner Bak Gyeongbin was satisfied with the painting, stating that "it appears impeccable and is just as if the tomb were newly built." The composition of the natural features in a row as if explaining each one lacks painterly beauty, but it does succeed in providing information on the geomantic topography of the gravesite. A fair number of the existing depictions of gravesites are woodblock prints of family gravesites produced after the eighteenth century. Most of these are included in genealogical records and anthologies. According to sixteenth- and seventeenth-century historical records, hanging scrolls of family gravesites served as objects of worship. Bowing in front of these paintings was considered a substitute ritual when descendants could not physically be present to maintain their parents' or other ancestors' tombs. Han Hyo-won (1468-1534) and Jo Sil-gul (1591-1658) commissioned the production of family burial ground paintings and asked distinguished figures of the time to write a preface for the paintings, thus showing off their filial piety. Such examples are considered precedents for Ancestral Burial Ground on the Inwangsan Mountain. Hermitage of the Recluse Seokjeong in a private collection and Old Villa in Hwagae County at the National Museum of Korea are not paintings of family gravesites. However, they serve as references for seventeenth-century paintings depicting family gravesites in that they are hanging scrolls in the style of the paintings of literary gatherings and they illustrate geomancy. As an object of worship, Ancestral Burial Ground on the Inwangsan Mountain recalls a portrait. As indicated in the postscripts, the painting made Bak Gyeong-bin "feel like hearing his father's cough and seeing his attitudes and behaviors with my eyes." The fable of Xu Xiaosu, who gazed at the portrait of his father day and night, is reflected in this gravesite painting evoking a deceased parent. It is still unclear why Bak Gyeong-bin commissioned Ancestral Burial Ground on the Inwangsan Mountain to be produced as a real scenery landscape in the folding screen format rather than a hanging scroll or woodblock print, the conventional formats for a family gravesite paintings. In the nineteenth century, commoners came to produce numerous folding screens for use during the four rites of coming of age, marriage, burial, and ancestral rituals. However, they did not always use the screens in accordance with the nature of these rites. In the Ancestral Burial Ground on the Inwangsan Mountain, the real scenery landscape appears to have been emphasized more than the image of the gravesite in order to allow the screen to be applied during different rituals or for use to decorate space. The burial mound, which should be the essence of Ancestral Burial Ground on the Inwangsan Mountain, might have been obscured in order to hide its violation of the prohibition on the construction of tombs on the four mountains around the capital. At the western foot of Inwangsan Mountain, which was illustrated in this painting, the construction of tombs was forbidden. In 1832, a tomb discovered illegally built on the forbidden area was immediately dug up and the related people were severely punished. This indicates that the prohibition was effective until the mid-nineteenth century. The postscripts on the Ancestral Burial Ground on the Inwangsan Mountain document in detail Bak Gyeong-bin's efforts to obtain the land as a burial site. The help and connivance of villagers were necessary to use the burial site, probably because constructing tombs within the prohibited area was a burden on the family and villagers. Seokpajeong Pavilion by Yi Han-cheol (1808~1880), currently housed at the Los Angeles County Museum of Art, is another real scenery landscape in the format of a folding screen that is contemporaneous and comparable with Ancestral Burial Ground on the Inwangsan Mountain. In 1861 when Seokpajeong Pavilion was created, both Yi Han-cheol and Jo Jung-muk participated in the production of a portrait of King Cheoljong. Thus, it is highly probable that Jo Jung-muk may have observed the painting process of Yi's Seokpajeong Pavilion. A few years later, when Jo Jungmuk was commissioned to produce Ancestral Burial Ground on the Inwangsan Mountain, his experience with the impressive real scenery landscape of the Seokpajeong Pavilion screen could have been reflected in his work. The difference in the painting style between these two paintings is presumed to be a result of the tastes and purposes of the commissioners. Since Ancestral Burial Ground on the Inwangsan Mountain contains the multilayered structure of a real scenery landscape and family gravesite, it seems to have been perceived in myriad different ways depending on the viewer's level of knowledge, closeness to the commissioner, or viewing time. In the postscripts to the painting, the name and nickname of the tomb occupant as well as the place of his surname are not recorded. He is simply referred to as "Mister Bak." Biographical information about the commissioner Bak Gyeong-bin is also unavailable. However, given that his family did not enter government service, he is thought to have been a person of low standing who could not become a member of the ruling elite despite financial wherewithal. Moreover, it is hard to perceive Hong Seon-ju, who wrote the postscripts, as a member of the nobility. He might have been a low-level administrative official who belonged to the Gyeongajeon, as documented in the Seungjeongwon ilgi (Daily Records of Royal Secretariat of the Joseon Dynasty). Bak Gyeong-bin is presumed to have moved the tomb of his father to a propitious site and commissioned Ancestral Burial Ground on the Inwangsan Mountain to stress his filial piety, a conservative value, out of his desire to enter the upper class. However, Ancestral Burial Ground on the Inwangsan Mountain failed to live up to its original purpose and ended up as a contradictory image due to its multiple applications and the concern over the exposure of the violation of the prohibition on the construction of tombs on the prohibited area. Forty-seven years after its production, this screen became a part of the collection at the Royal Yi Household Museum with each panel being separated. This suggests that Bak Gyeong-bin's dream of bringing fortune and raising his family's social status by selecting a propitious gravesite did not come true.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.54-88
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• 2019

The Album of Complete Views of Seas and Mountains comprises sixty real scenery landscape paintings depicting Geumgangsan Mountain, the Haegeumgang River, and the eight scenic views of Gwandong regions, as well as fifty-one pieces of writing. It is a rare example in terms of its size and painting style. The paintings in this album, which are densely packed with natural features, follow the painting style of the Southern School yet employ crude and unconventional elements. In them, stones on the mountains are depicted both geometrically and three-dimensionally. Since 1973, parts of this album have been published in some exhibition catalogues. The entire album was opened to the public at the special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea" held at the National Museum of Korea in 2019. The Album of Complete Views of Seas and Mountains was attributed to Kim Eung-hwan (1742-1789) due to the signature on the final leaf of the album and the seal reading "Bokheon(painter's penname)" on the currently missing album leaf of Chilbodae Peaks. However, there is a strong possibility that this signature and seal may have been added later. This paper intends to reexamine the creator of this album based on a variety of related factors. In order to understand the production background of Album of Complete Views of Seas and Mountains, I investigated the eighteenth-century tradition of drawing scenic spots while travelling in which scenery of was depicted during private travels or official excursions. Jeong Seon(1676-1759), Sim Sa-jeong(1707-1769), Kim Yun-gyeom(1711-1775), Choe Buk(1712-after 1786), and Kang Se-hwang(1713-1791) all went on a journey to Geumgangsan Mountain, the most famous travel destination in the late Joseon period, and created paintings of the mountain, including Album of Pungak Mountain in the Sinmyo Year(1711) by Jeong Seon. These painters presented their versions of the traditional scenic spots of Inner Geumgangsan and newly depicted vistas they discovered for themselves. To commemorate their private visits, they produced paintings for their fellow travelers or sponsors in an album format that could include several scenes. While the production of paintings of private travels to Geumgangsan Mountain increased, King Jeongjo(r. 1776-1800) ordered Kim Eung-hwan and Kim Hong-do, court painters at the Dohwaseo(Royal Bureau of Painting), to paint scenic spots in the nine counties of the Yeongdong region and around Geumgangsan Mountain. King Jeongjo selected these two as the painters for the official excursion taking into account their relationship, their administrative experience as regional officials, and their distinct painting styles. Starting in the reign of King Yeongjo(r. 1724-1776), Kim Eung-hwan and Kim Hong-do served as court painters at the Dohwaseo, maintained a close relationship as a senior and a junior and as colleagues, and served as chalbang(chief in large of post stations) in the Yeongnam region. While Kim Hong-do was proficient at applying soft and delicate brushstrokes, Kim Eung-hwan was skilled at depicting the beauty of robust and luxuriant landscapes. Both painters produced about 100 scenes of original drawings over fifty days of the official excursion. Based on these original drawings, they created around seventy album leaves or handscrolls. Their paintings enriched the tradition of depicting scenic spots, particularly Outer Inner Geumgang and the eight scenic views of Gwandong around Geumgangsan Mountain during private journeys in the eighteenth century. Moreover, they newly discovered places of scenic beauty in the Outer Geungang and Yeongdong regions, establishing them as new painting themes. The Album of Complete Views of Seas and Mountains consists of four volumes. The volumes I, II include twenty-nine paintings of Inner Geumgangsan; the volume III, seventeen scenes of Outer Geumgangsan; and the volume IV, fourteen images of Maritime Geumgangsan and the eight scenic views of Gwandong. These paintings produced on silk show crowded compositions, geometrical depictions of the stones and the mountains, and distinct presentation of the rocky peaks of Geumgangsan Mountain using white and grayish-blue pigments. This album reflects the Joseon painting style of the mid- and late eighteenth century, integrating influences from Jeong Seon, Kang Se-hwang, Sim Sa-jeong, Jeong Chung-yeop(1725-after 1800), and Kim Hong-do. In particular, some paintings in the album show similarities to Kim Hong-do's Album of Famous Mountains in Korea in terms of its compositions and painterly motifs. However, "Yeongrangho Lake," "Haesanjeong Pavilion," and "Wolsongjeong Pavilion" in Kim Eung-hwan's album differ from in the version by Kim Hong-do. Thus, Kim Eung-hwan was influenced by Kim Hong-do, but produced his own distinctive album. The Album of Complete Views of Seas and Mountains includes scenery of "Jaundam Pool," "Baegundae Peak," "Viewing Birobong Peak at Anmunjeom groove," and "Baekjeongbong Peak," all of which are not depicted in other albums. In his version, Kim Eung-hwan portrayed the characteristics of the natural features in each scenic spot in a detailed and refreshing manner. Moreover, he illustrated stones on the mountains using geometric shapes and added a sense of three-dimensionality using lines and planes. Based on the painting traditions of the Southern School, he established his own characteristics. He also turned natural features into triangular or rectangular chunks. All sixty paintings in this album appear rough and unconventional, but maintain their internal consistency. Each of the fifty-one writings included in the Album of Complete Views of Seas and Mountains is followed by a painting of a scenic spot. It explains the depicted landscape, thus helping viewers to understand and appreciate the painting. Intimately linked to each painting, the related text notes information on traveling from one scenic spot to the next, the origins of the place names, geographic features, and other related information. Such encyclopedic documentation began in the early nineteenth century and was common in painting albums of Geumgangsan Mountain in the mid- nineteenth century. The text following the painting of Baekhwaam Hermitage in the Album of Complete Views of Seas and Mountains documents the reconstruction of the Baekhwaam Hermitage in 1845, which provides crucial evidence for dating the text. Therefore, the owner of the Album of Complete Views of Seas and Mountains might have written the texts or asked someone else to transcribe them in the mid- or late nineteenth century. In this paper, I have inferred the producer of the Album of Complete Views of Seas and Mountains to be Kim Eung-hwan based on the painting style and the tradition of drawing scenic spots during official trips. Moreover, its affinity with the Handscroll of Pungak Mountain created by Kim Ha-jong(1793-after 1878) after 1865 is another decisive factor in attributing the album to Kim Eung-hwan. In contrast to the Album of Famous Mountains in Korea by Kim Hong-do, the Album of Complete Views of Seas and Mountains exerted only a minor influence on other painters. The Handscroll of Pungak Mountain by Kim Ha-jong is the sole example that employs the subject matter from the Album of Complete Views of Seas and Mountains and follows its painting style. In the Handscroll of Pungak Mountain, Kim Ha-jong demonstrated a painting style completely different from that in the Album of Seas and Mountains that he produced fifty years prior in 1816 for Yi Gwang-mun, the magistrate of Chuncheon. He emphasized the idea of "scholar thoughts" by following the compositions, painterly elements, and depictions of figures in the painting manual style from Kim Eung-hwan's Album of Complete Views of Seas and Mountains. Kim Ha-jong, a member of the Gaeseong Kim clan and the eldest grandson of Kim Eung-hwan, is presumed to have appreciated the paintings depicted in the nature of Album of Complete Views of Seas and Mountains, which had been passed down within the family, and newly transformed them. Furthermore, the contents and narrative styles of Yi Yu-won's writings attached to the paintings in the Handscroll of Pungak Mountain are similar to those of the fifty-one writings in Kim Eunghwan's album. This suggests a possible influence of the inscriptions in Kim Eung-hwan's album or the original texts from which these inscriptions were quoted upon the writings in Kim Ha-jong's handscroll. However, a closer examination will be needed to determine the order of the transcription of the writings. The Album of Complete View of Seas and Mountains differs from Kim Hong-do's paintings of his official trips and other painting albums he influenced. This album is a siginificant artwork in that it broadens the understanding of the art world of Kim Eung-hwan and illustrates another layer of real scenery landscape paintings in the late eighteenth century.

• Journal of Astronomy and Space Sciences
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• v.22 no.2
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• pp.147-174
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• 2005

To understand the physical processes that control the high-latitude lower thermospheric dynamics, we quantify the forces that are mainly responsible for maintaining the high-latitude lower thermospheric wind system with the aid of the National Center for Atmospheric Research Thermosphere-Ionosphere Electrodynamics General Circulation Model (NCAR-TIEGCM). Momentum forcing is statistically analyzed in magnetic coordinates, and its behavior with respect to the magnitude and orientation of the interplanetary magnetic field (IMF) is further examined. By subtracting the values with zero IMF from those with non-zero IMF, we obtained the difference winds and forces in the high-latitude 1ower thermosphere(<180 km). They show a simple structure over the polar cap and auroral regions for positive($B_y$ > 0.8|$\overline{B}_z$ |) or negative($B_y$ < -0.8|$\overline{B}_z$|) IMF-$\overline{B}_y$ conditions, with maximum values appearing around -80$^{\circ}$ magnetic latitude. Difference winds and difference forces for negative and positive $\overline{B}_y$ have an opposite sign and similar strength each other. For positive($B_z$ > 0.3125|$\overline{B}_y$|) or negative($B_z$ < -0.3125|$\overline{B}_y$|) IMF-$\overline{B}_z$ conditions the difference winds and difference forces are noted to subauroral latitudes. Difference winds and difference forces for negative $\overline{B}_z$ have an opposite sign to positive $\overline{B}_z$ condition. Those for negative $\overline{B}_z$ are stronger than those for positive indicating that negative $\overline{B}_z$ has a stronger effect on the winds and momentum forces than does positive $\overline{B}_z$ At higher altitudes(>125 km) the primary forces that determine the variations of tile neutral winds are the pressure gradient, Coriolis and rotational Pedersen ion drag forces; however, at various locations and times significant contributions can be made by the horizontal advection force. On the other hand, at lower altitudes(108-125 km) the pressure gradient, Coriolis and non-rotational Hall ion drag forces determine the variations of the neutral winds. At lower altitudes(<108 km) it tends to generate a geostrophic motion with the balance between the pressure gradient and Coriolis forces. The northward component of IMF By-dependent average momentum forces act more significantly on the neutral motion except for the ion drag. At lower altitudes(108-425 km) for negative IMF-$\overline{B}_y$ condition the ion drag force tends to generate a warm clockwise circulation with downward vertical motion associated with the adiabatic compress heating in the polar cap region. For positive IMF-$\overline{B}_y$ condition it tends to generate a cold anticlockwise circulation with upward vertical motion associated with the adiabatic expansion cooling in the polar cap region. For negative IMF-$\overline{B}_z$ the ion drag force tends to generate a cold anticlockwise circulation with upward vertical motion in the dawn sector. For positive IMF-$\overline{B}_z$ it tends to generate a warm clockwise circulation with downward vertical motion in the dawn sector.

• Tuberculosis and Respiratory Diseases
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• v.43 no.6
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• pp.871-881
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• 1996

Objective: In the early short-term therapy of pulmonary tuberculosis, PZA is used for the first two months on 6EHRZ therapy but PZA is not effective in the case of long-tenn use PZA for retreatment in the sensitive relapse or acquired drug resistance for PZA. But in the endemic area as Korea, if we can't use PZA in the retreatment of pulmonary tuberculosis, we can't expect the success for retreatment of pulmonary tuberculosis, therefore we need new drugs substituting for PZA. In these days, 4 - fluoroquinolone derivatives were investigated and only ofloxacin and ciprofloxacin of derivatives were known to be effective but the effectiveness was also not certain because the result was experimental or combined with other bacteriocidal drugs and datas on effectiveness of pulmonary tuberculosis were so little. Therefore these drugs should be use with other two or three strong-acting drugs in the last period of retreatment of pulmonary tuberculosis. The ofloxacin or ciprofloxacin is used in some area in Korea but randomly and needed more study. We did this study for proving the effectiveness of these drugs and establishment of retreatment regimen for pulmonary tuberculosis. Methods: Retrospective cohort study of 83 drug-resistant pulmonary tuberculosis patients at National Masan Tuberculosis Hospital from Jan. 1994 to dec. 1995 was made. All the patients taken medicine for 2nd ami-tuberculosis regimens for the first lime. We separated the patients by two groups.(Group I : OFX+ PTA + CS+PAS + Injection, Group II: PZA + PTA+ CS + PAS + Injection). We compared the difference between two groups and tested the confidence limit about results after treatment by $\chi$2-test and T-test. Results : 1. The age distribution was most frequent in fourth decade(29.2% in Group I, 37.1% in Group II) and the mean age was 43.9 year in Group I, and 39.0 year in Group II, but had no significant difference between two groups. The sex distribution was more frequent in the males(68.8% in Group I, 85.7% in Group II), but had no significant difference. 2. Family history was 29.2% in Group I, 28.6% in Group II, but had no significant difference. 3. In the respect of extent of disease, far-advanced stare was 60.4% in Group I, 74.3% in Group II, but had no significant difference. 4. The side effects for drugs showed in 58.3% in Group I and 65.7% in Group II, and the gastrointestinal trouble showed 25.0% in Group and arthralgia 34.3% in Group II predominantly respectively and had the significant difference(p<0.05). 5. The negative conversion rate on sputum AFB smear was 87.5% in Group I and 80.0% in Group II, but had no significant difference. But the negative conversion rate on sputum AFB culture was 83.3% in Group I and 57.1 % in Group II and had the significant difference(p<0.05). 6. The success rate of treatment was 87.5 % in Group I and 83.3 % in Group II but had no significant difference. Conclusion : In the retreatment of pulmonary tuberculosis, ofloxacin is useful drug for the patients who are not available to use PZA and can be use effectively substituting for PZA.

• Korean Journal of Soil Science and Fertilizer
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• v.44 no.5
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• pp.887-894
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• 2011

To evaluate the effects of abiotic factors of paddy fields on greenhouse gases (GHGs) emissions from rice paddy fields, $CH_4$ emission amounts were investigated from rice paddy fields by different soil organic matter contents, paddy types, and agricultural climatic zone in Yeongnam area during 3 years. $CH_4$ emission amounts according to soil organic matter contents in paddy field were conducted at having different contents of 5 soil organic matters fields (23.6, 28.7, 31.0, 34.5, and $38.0g\;kg^{-1}$), The highest $CH_4$ emission amount was recorded in the highest soil organic matters plot of $38.0g\;kg^{-1}$. High correlation coefficient (r=$0.963^{**}$) was obtained between $CH_4$ emissions from paddy fields and their soil organic matter contents. According to paddy field types, $CH_4$ emission amounts were investigated at 4 different paddy fields as wet paddy, sandy paddy, immature paddy, and mature paddy. The highest $CH_4$ emissions was recorded in wet paddy (100%) and followed as immature paddy 64.0%, mature paddy 46.8%, and sandy paddy 23.8%, respectively. For the effects of temperature on $CH_4$ emissions from paddy fields, 4 agricultural climatic zones were investigated, which were Yeongnam inland zone (YIZ), eastern coast of central zone (ECZ), plain area of Yeongnam inland mountainous zone (PMZ), and mountainous area of Yeongnam inland mountainous zone (MMZ). The order of $CH_4$ emission amounts from paddy fields by agricultural climatic zone were YIZ (100%) > ECZ (94.6%) > PMZ (91.6%) > MMZ (78.9%). The regression equation between $CH_4$ emission amounts from paddy fields and average air temperature of Jul. to Sep. of agricultural climatic zone was y = 389.7x-4,287 (x means average temperature of Jul. to Sep. of agricultural climatic zone, $R^2=0.906^*$)

• Korean Journal of Environment and Ecology
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• v.32 no.6
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• pp.698-708
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• 2018

The purpose of this study was to investigate differences in the breeding call characteristics of cicada species found in urban and forest areas in the central region of Korea by examining the interspecific effects and environmental factors affecting the breeding calls and breeding call patterns. The selected research sites were Gyungnam Apartment in Bangbae-dong, Seoul for the urban area and Chiak Mountain National Park in Wonju for the forest area. The research method for both sites was to record cicada breeding calls for 24 hours with a recorder installed at the site and analyze the results. Data from the Korea Meteorological Administration were used for environmental factors. The research period was from June 19, 2017 to September 30, 2017. As a result of the study, there were differences in the emergence of species between the two research sites: while Platypleura kaempferi, Hyalessa fuscata, Meimuna opalifera, Graptopsaltria nigrofuscata, and Suisha coreana were observed at both sites, Cryptotympana atrata was observed in the urban area and Leptosemia takanonis in the forest area only. The emergence periods of cicadas at the two sites were also different. The activities of P. kaempferi and L. takanonis were noticeable in the forest area. In the urban area, however, L. takanonis was not observed and the duration of activity of P. kaempferi was short. In the urban area, C. atrata appeared and sang for a long period; H. fuscata, M. opalifera, and G. nigrofuscata appeared earlier than in the forest area. S. coreana appeared earlier in the forest area than in the urban area. According to the daily call cycle analysis, even cospecific cicada showed a wide variation in their daily cycle depending on the region and the interspecific effects between different cicadas, and the environmental differences between the urban and forest areas affected the calls of cicadas. The results of correlation analysis between each cicada breeding calls and environmental factors of each site showed positive correlation with average temperature of most cicadas except P. kaempferi and C. atrata. The same species of each site showed positive correlations with more diverse weather factors such as solar irradiance. Logistic regression analysis showed that cicadas with overlapping calling times had significant effects on each other's breeding calls. C. atrata, which appeared only in the urban area, had a positive effect on the calling frequency of H. fuscata, M. opalifera, and G. nigrofuscata, which called in the same period. Additionally, L. takanonis, which appeared only in the forest area, and P. kaempferi had a positive effect on each other, and M. opalifera had a positive effect on the calling frequency of H. fuscata and G. nigrofuscata in the forest area. For the environmental factors, the calling frequency of cicadas was affected by the average temperatures of the urban and forest areas, and cicadas that appeared in the forest area were also affected by the amount of solar radiation. According to the results of statistical analysis, urban cicadas with similar activity periods are influenced by species, especially with respect to urban dominant species, C. atrata. Forest cicadas were influenced by species, mainly M. opalifera, which is a forest dominant species. The results of the meteorological impact analysis were similar to those of the correlation analysis, and were influenced mainly by the temperature, and the influence of the insolation was more increased in the forests.

• Korean Journal of Heritage: History & Science
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• v.42 no.1
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• pp.88-99
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• 2009

This study was conducted to formulate management guidelines for Natural monumental old trees in Korea through survey of tree vigor and analysis of growing environments. A total of 20 old trees designated as natural monuments in Seoul, Incheon, and Gyeonggi Province were surveyed. The biological characteristics were surveyed with 4 items of species, ages and height of trees. The surrounding environments were surveyed with 2 items of location types and surroundings. The root conditions were surveyed with 2 items of denudation and molding depth. The health conditions were surveyed with 5 items of withering rate, cavity size, bark breakaway rate, damages by blight and insects, and growing tips. The soil conditions were surveyed with 6 items of PH, organic contents, valid phosphoric acid, transposal cations(K, Ca) and soil compaction. On the basis of outcomes of these research items, mutual relations among locations, growings and soil conditions of old trees were analyzed by carring out cross tabulation, correlation, and simple and multiple regression. Management guidelines were presented searching the factors effecting on the health of the monumental old trees. On the biological characteristics, the old trees designated as natural monuments were Pinus bungeana(4 trees), Juniperus chinensis(3 trees), Ginkgo biloba(3 trees), Poncirus trifoliata(2 trees). Actinidia arguta, Wisteria floribunda, Thuja orientalis, Quercus mongolica, Sophora japonica, Fraxinus rhynchophylla, Zelkova serrata, and Pinus densiflora. The tree height ranged from 4.2 to 39.2m, and root collar rounds ranged from 1.01 to 15.2m. On the surrounding environments, The location types ; Gardens(4), historical sites(5), residental sections(3) open agricultural fields(3), mountain hills(3), and near ocean beaches(1) and stream site(1). The surroundings ; 75% denudation of roots, molded more than 10cm except 4 trees(25%). On the health conditions, 1)Withering rate ; Ginkgo biloba(20%) in Yongmoon temple, (5%) in Saki-ri, kanwha-gun, and others had no withering rate. 2) Cavity size ; all subject had $5{\sim}100cm^3$ of cavity. 3) Bark breakaway rate ; Pinus bungeana in Soosong-dong, in the shrine of Confucius, in Samchung-dong, especially high rate of cavity(5~50%) in Seoul area and in Saki-ri, Kangwha-gun were high 45% brakeaway rate. 4) Damages by blight and insects was slight due to managements. 5Growing tips ; In cases of Juniperus chinensis in Changdeok palace and SunnogDang, seoul, growing tips were 1/2, presumably cause by air pollution, and in cases of Fraxinus rhynchophylla in Paju city and Pinus densiflora in BacksaDorip-ri, Icheon city, growing tips were fine, presumably because there were no moldings. On the Soil conditions, Soil pH ranged from 5.2 to 8.3, organic matter contents from 12% to 56%, phosphorus contents from 104 to 618ppm, soil compaction ranged from 7 to 28mm( among them, Denudation was severe with 21~28mm soil compactions in cases of Pinus bungeana in Soosong -dong, Thuja orientalis in Samchung -dong, Ginkgo biloba in the shrine of Confucius and in Yongmoon temple.) Results of cross tabulation, correlation, and regression analysis showed that molding depth was the most serious factor to deteriorate the tree vigor and cambium conductivity. In addition, soil acidity, organic matter contents, disease and insect damages and cambial detachment were also related to the tree vigor. Additional research of these relationships will be needed to conduct more detailed studies. Based on the relationships between the tree vigor and growing environments, it is considered that old trees should be managed to give them more growing spaces and less abuses. Also, molded soils should be removed and further soil-molding around the tree collar should be prohibited. For the construction of systematic management and removal of harmful factors, appropriative management according to spices, persistent monitering of damaged cases and construction of management system through the accumulation of data on the relationships of soil conditions are required.