• Korean Journal of Heritage: History & Science
• /
• v.54 no.4
• /
• pp.36-59
• /
• 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.

• Journal of Korean Society of Forest Science
• /
• v.110 no.3
• /
• pp.406-418
• /
• 2021

This study was conducted to evaluate optimal storage techniques for bare root plants and container seedlings of Quercus variabilis and Zelkova serrata in order to maintain high quality of seedlings until planting. Refrigerated storage treatments were given at two temperatures (-2℃ [freezing] and 2℃ [cooling]) for nine different durations (0, 15, 30, 60, 120, 180, 240, 300, and 360 days after storage). We analyzed total nonstructural carbohydrate (TNC) content and measured shoot moisture content (SMC) during the storage stage and survival rate (SR) and dry weight during the planting stage of seedlings. The TNC content and SMC of the seedlings of the two species decreased with an increase in storage duration. The TNC content of seedlings rapidly decreased after 180~240 days of storage. The TNC reduction rate in the freezing treatment was lower than that in the cooling treatment. Also, with an increase in the storage duration of the two species, the SMC reduction rate in the cooling treatment increased in comparison with that in the freezing treatment. In both the species, the SR after planting decreased rapidly after 60 days of cooling storage and 180 days of freezing storage, respectively. The SR after planting was less than 60% when the TNC content for both the species dropped below 20 mg g^-1. In addition, the SR was lower than 80% when SMC measured before storage decreased by approximately 30% and 20% for Q. variabilis and Z. serrata, respectively. Our results suggest that cooling (1~2℃) storage is recommended for a short-term period (2 months or less), whereas freezing (-2~-4℃) storage is suitable for longer periods (2~6 months). These optimal storage techniques, allied with seedling harvesting and handling systems, will improve the quality of seedling production in nursery stages and increase seedling growth performances in plantations.

• Korean Journal of Remote Sensing
• /
• v.37 no.6_2
• /
• pp.1793-1801
• /
• 2021

From 2015 to June 2020, the backscattering coefficients of 532 and 1064 nm measured using LIDAR and the depolarization ratio at 532 nm were used to separate the backscattering coefficient at 532 nm as three types as PM₁₀, PM_2.5-10, PM_2.5 according to particle size. The mass extinction efficiency (MEE) of three types was calculated using the mass concentration measured on the ground. The overall mean values of the calculated MEE were 5.1 ± 2.5, 1.7 ± 3.7, and 9.3 ± 6.3 m²/g in PM₁₀, PM_2.5-10, and PM_2.5, respectively. When the mass concentration of PM₁₀ and PM_2.5 was low, higher than average MEE was calculated, and it was confirmed that the MEE decreased as the mass concentration increased. When the MEE was calculated for each type according to the mixing degree of Asian dust, PM_2.5-10 was twice at pollution aerosol as high as 2.1 ± 2.8 m²/g, compare to pollution-dominated mixture, dust-dominated mixture, and pure dust of 1.1 ± 1.8, 1.4 ± 3.3, 1.1 ± 1.5 m²/g, respectively. However, PM_2.5 MEE showed similar values irrespective of type: 9.4 ± 6.5, 9.0 ± 5.8, 10.3 ± 7.5, and 9.1 ± 9.0 m²/g. The MEE of PM₁₀ was 5.6 ± 2.9, 4.4 ± 2.0, 3.6 ± 2.9, and 2.8 ± 2.4 m²/g in pollution aerosol (PA), pollution-dominated mixture (PDM), dust-dominated mixture (DDM), and pure dust (PD), respectively, and increased as the dust ratio value decreased. Even if the same type according to the same mass concentration or Asian dust mixture was shown, as the PM_2.5/PM₁₀ ratio decreased, the MEE of PM_2.5-10 decreased and the MEE of PM_2.5 showed a tendency to increase.

• Journal of the Korean Applied Science and Technology
• /
• v.38 no.6
• /
• pp.1687-1698
• /
• 2021

This study is to produce multiple layers of liposomes in a supercritical state and encapsulates active ingredients in order to stably encapsulate thermodynamically unstable active ingredients. In order to form a liposome in a supercritical state, a mixed surfactant development including vegetable-derived hydrogenated phosphatidyl choline and their delivative, hydrogenated sucrose distearate was synthesized as high purity. It describes a manufacturing method of injecting liquid carbon dioxide into a reactor to create a supercritical state and stirring to produce a giant liposome, and adding and loading genistein and quercetin. The HLB of the mixed lipid complex (SC-Lipid Complex) was 12.50, and multiple layers of liposome vesicles were formed even at very low concentrations. This surfactant had a specific odor with a pale yellow flake, the specific gravity was 0.972, and the acid value was 0.12, indicating that it was synthesized with high purity. As a result of the emulsifying capacity experiment using 20 wt% capric/capric triglyceride and triethylhexanoin using SC-Lipid Complex, it was found to have 96.2% emulsifying power. SC LIPOSOME GENISTEIN was confirmed that a multi-layer liposome vesicle was formed through a transmission electron microscope (Cryo-TEM) for the supercritical liposome encapsulated with genistein. The primary liposome particle size in which genistein was encapsulated was 253.9 nm, and the secondary capsule size was 18.2 ㎛. Using genistein as the standard substance, the encapsulation efficiency of supercritical liposomes was 99.5%, and general liposomes were found to have an efficiency of 93.6%. In addition, the antioxidant activity experiment in which quercetin was sealed was confirmed by the DPPH method, and it was found that the supercritical liposome significantly maintained excellent antioxidant activity. In this study, thermodynamically unstable raw materials were sealed into liposomes without organic solvents in a supercritical state. Based on these results, it is expected that it can be applied to various forms such as highly functional skincare cosmetics, makeup cosmetics, and scalp protection cosmetics.

• Korean Journal of Labor Studies
• /
• v.24 no.1
• /
• pp.107-156
• /
• 2018

This article examines the history of the in - house subcontracting and the stabilization of labor - management relations in the steel industry in Japan. The ratio of in-house subcontract workers among steel workers has increased steadily until the mid-2000s, and about 70% in case of the largest company. In-house subcontracting was used as a strategy of the company to increase the quantity flexibility of employment and to save labor costs. The in-house subcontracting company needed company-specialized skills, and the internal labor market was formed because the rate of full-time workers was high and the turnover rate was low. The in-house subcontractor introduced long-term business relationship with the steel factory by introducing the equipment and materials necessary for the performance of the work, and the factory implemented the productivity improvement policy of the in-house subcontractor, and the win-win relationship between the factory and in-house subcontractor was developed. The trade union did not oppose the idea that the expansion of in-house subcontracting contributed to corporate profits, the stability of employment of the members and maintenance of their working conditions. Since 2000, the steel factory has pursued the transformation of in - house subcontractors into subsidiaries, which has been supported by capital relations. By the way, since the mid-2000s, there has been an increase in the number of regular workers' employment. The major factors are as follows: more strengthened compliance with laws and regulations, the higher quality request of customers, stricter keeping of deadlines, and problem in recruiting of workers at in-house subcontract companies. The wage gap between the factory and in - house subcontracting was less at company B than at company S, and the wage level of in - house subcontracting was about 90% of the factory at company B. The relatively small gap at company B seems to be due to the union's movement of narrowing the gap, low market dominance and unfavorable labor market. The internal labor market has been formed in the in-house subcontracting, and the wage gap is not large, and the possibility of labor disputes is low. Industrial relations are stable in the in-house subcontract company as well as the factory. The stabilization of labor-management relations in the steel industry in Korea is required to reduce the wage gap between the factory and in-house subcontract enterprises by raising productivity and expanding the internal labor market at in-house subcontract enterprises.

• Korean Journal of Breeding Science
• /
• v.40 no.4
• /
• pp.443-446
• /
• 2008

'Gangbaek' is a japonica rice variety developed and registered by the rice breeding team of Department of Rice and Winter Cereal Crop, NICS, RDA in 2006. 'Gangbaek' was derived from a cross between 'Suweon345' with good grain quality and 'DV85' resistant to bacterial blight, $K_{3a}$. $F_1$ plants were grown in the greenhouse in winter of 1992/1993 and backcrossed with 'Suweon345' as the recurrent parent. Plants resistant to $K_{3a}$ race of bacterial blight (BB) were selected from $BC_1F_1$ to $BC_4F_1$ and used as parents in the backcrossing processes. This variety has about 120 days growth duration from transplanting to harvesting in west-southern coast and Honam plain of Korea. It is about 69 cm in culm length and tolerance to lodging. In reaction to biotic and abiotic stresses, it shows moderately resistance to blast, and resistance to bacterial blight pathogen, $K_1$, $K_2$, $K_3$ and $K_{3a}$, but susceptible to other major diseases and insect pests. The milled rice of 'Gangbaek' exhibits translucent, relatively clear non-glutinous endosperm and midium short grain. It has lower amylose content of 18.6% and protein content of 6.4% compared with 'Nampyeongbyeo'. The milled rice yield performance of this variety is about 5.28 MT/ha in local adaptability test for three years. This cultivar would be adaptable to the bacterial blight-prone area in the south-western coastal and Honam plain of Korea.

• Korean Journal of Heritage: History & Science
• /
• v.47 no.1
• /
• pp.32-45
• /
• 2014

In this study, the characteristics of Mongsimjae in Namwon-si, Jeollabuk-do have been researched focusing on the writings engraved in huge stones and rocks of pavilion standing beside a lotus pond and its formative languages in the garden has been interpreted as follows. Name of pavilion(堂號) Mongsimjae(夢心齋) includes a classical scholar's spirit, refusing to serve two kings and homecoming after resignation from a government office(歸去來) of Songam(松菴) Park Moonsu(朴門壽), an ancestor who has brought to the Juksan(竹山) Park's family again. A pavilion standing beside a lotus pond(蓮塘) built in the reception garden is a gardening facility symbolizing 'Yeondang(蓮堂)' Park Dongsik(朴東式) who built Mongsimjae. The bamboo hill connected to the backyard seems to be relevant to 'Juksan', the family clan of Mongsimjae's owner and this kinds of intention can be found in the bamboos in the outer garden naturally led to inside the garden through the flower beds. The purpose for the western arrangement of the main building and gate contrary to the 'chukjwamihyaug'(丑坐未向; a direction toward to the south-southwest) of the prospect of Sarangchae(guesthouse) is interpreted to naturally attract people's eyes to the pavilion standing beside a lotus pond and to mitigate the sense of closure resulting from the huge stones located in the reception garden. Also the writing engraved in the three huge stones, 'Jonsimdae(存心臺)', implies that it is a place where was selected with heart by Juksan Park family who settled down in Homsil, Namwon after 'Haengchon(杏村) Park Jaryang(朴子良)' in Yiphyangjo(入鄕祖), Namwon and 'Jeongwa(靖窩)' is interpreted as a signature representing that it is the most comfortable house where Jeongwa Park Haechang(朴海昌: 1876~1933), the third owner of Mongsimjae, has lived. The pavilion standing beside a lotus pond of the 'Bangjibangdo(方池方島; square pond and square island)' type has no lotus for now and waterside cornerstones roughly piled with broken stones naturally mitigate the slope. There are two water inflows gathering rainwater in the reception garden other than the water inflow of valley and the upper-side water inflow was built using a high waterfall method. The middle island cut into a square was designed to use in two ways, as 'island' or 'steppingstone', according to the water level and the old name of the pavilion standing beside a lotus pond was revealed as 'Cheonundam(天雲潭)' from the engraved writing located in the side of the middle island. In addition, 'Imni(臨履)', engraved writing in the finishing stone of waterside by citing a line of 'Sigyeong(詩經)', implies 'Be a upright classical scholar who pays close attention to one's own behaviors' and 'Jeongchuk(渟?)' is interpreted as a message that desires the eternal staying of the Juksan Park family's wealth. Ultimately, the writings engraved in the huge stones and rocks of the pavilion standing beside a lotus pond are interpreted as a symbol language that wishes the heaven protects and maintains the wealth of the Juksan Park family who is the owner of Mongsimjae.

• Korean Journal of Heritage: History & Science
• /
• v.51 no.2
• /
• pp.138-153
• /
• 2018

The purpose of this study was to analyze , which was made in the late Joseon Dynasty to specify the vegetation landscape of the Donhwamun Gate area in Changdeokgung Palace. The study results can be summarized as below. First, based on "Jieziyuan Huazhuan(芥子園畵傳)", the introductory book of tree expression delivered from China in the 17th century, allowed the classification criteria of the trees described in the picture to be established and helped identify their types. As a result of the classification, there were 10 species and 50 trees in the Donhwamun Gate area of . Second, it was possible to measure the real size of the trees described in the picture through the elevated drawing scale of . The height of the trees ranged from a minimum of 4.37 m to a maximum of 22.37 m. According to the measurement results, compared to the old trees currently living in Changdeokgung Palace, the trees described in the picture were found to be produced in almost actual size without exaggeration. Thus, the measured height of the trees turned out to be appropriate as baseline data for reproduction of the vegetation landscape. Third, through the Rubber Sheeting Transformation of , it was possible to make a ground plan for the planting of on the current digital topographic map. In particular, as the transformed area of was departmentalized and control points were added, the precision of transformation improved. It was possible to grasp the changed position of planting as well as the change in planting density through a ground plan of planting of . Lastly, it was possible to produce a three-dimensional vegetation landscape model by using the information of the shape of the trees and the ground plan for the planting of . Based on the three-dimensional model, it was easy to examine the characteristics of the three-dimensional view of the current vegetation via the view axis, skyline, and openness to and cover from the adjacent regions at the level of the eyes. This study is differentiated from others in that it verified the realism of and suggested the possibility of ascertaining the original form of the vegetation landscape described in the painting.

• (The) Research of the performance art and culture
• /
• no.32
• /
• pp.651-700
• /
• 2016

The keyword of contemporary art in 21st is audience participation. London has emphasized the importance of audience participation since 2000. The National Theater of London is trying a new method, which is live performance to search new audiences. Also, they are trying to cross the boundaries between 'stage' and 'spectator'. This leads the other theaters to search new audiences and try new genre of performance. Therefore, they establish a new form of performance, which is that audience actively moves and find a new story in a theater. For example, "environmental theater" is the one. This theater escapes from the traditional stage, but it is based on "site-specific performance." Lots of new forms of theater have emerged. In this study, I focused on one of these new forms of theater, which is "Punchdrunk." "Punchdrunk" was founded by few students graduated from London University's Laban Center in 1999. They started at an empty stage in small school with only three audiences. 7 years after, it became one of major theaters in London. 10 years after, it showed their performances in the United state. Since then, their performances in New York have never been stopped. More strikingly, for last decades, this theater has been always full. In this study, I reasoned that the key of "Punchdrunk" success is audience participation. Therefore, I investigated the features of Punchdrunk theater and how they engage their audience in this performance. In this study, I focused on one of their performances, . Also, I categorized the audiences in three different ways: narrative visitor, walking visitor, and engaging visitor with mask. Three-part transition of Disney Theme Park from Louis Marin was applied to study "narrative visitor." For "walking visitor", Normadism from Gilles Deleuze was applied. For "engaging visitor with mask", Voyeurism was applied.

• Journal of Korean Theatre Studies Association
• /
• no.52
• /
• pp.189-228
• /
• 2014

The purpose of this research was to summarize Korea and China's researches on Noh and to examine main domain in this field, by investigating the academic books and articles published in two countries. In 1960s, since Nohgaku has been introduced to China, academic articles on Zeami's theories and aesthetics have emphasized on aesthetic characteristics of Chinese plays and Japanese Nohgaku through the similarities of oriental plays. The number of researches on Kabuki is almost twice as that of researches on Noh in China. While most researches on Kabuki were compared with the styles and music of Pecking Opera and the theatrical theories of liyu[李漁], those on Noh has been highlighted the comparative studies on $Y{\bar{o}}kyoku$[謠曲], Chinese Noh plays. The main difference among the researches on $Y{\bar{o}}kyoku$ in Korea and China was the material regarding characters of Noh. Because song yuanzaju[宋 元雜劇]and Nohgaku in Chinese-Japanese plays were the mature form of the classic plays and those were representative of traditional nation plays, this researches tried to ascertain the cultural origins of two countries regarding the aesthetic characteristics by referencing lyrical and narrative features[曲詞] of yuanzaju[元雜劇]and the classic waka of Nohgaku. While the comparative studies on Noh and song yuanzaju and kunqu[昆劇] in China were prevalent, national researches have emphasized on the inner world of the main character and dramaturgy through the verbal description of Noh. Especially, this research tried to investigate the inner world of the main character and the intention of the writers through the verbal description of Noh authorized in the history of the works. Also, the researches on Buddhism in the Middle Ages and religious background were examined significantly. In addition, the $Y{\bar{o}}kyoku$ has influenced on European modern playwrights and the comparative studies between the materials of $Y{\bar{o}}kyoku$ and Western modern plays were concerned. In Korea, the comparative studies on Noh between Korea abd Japan has been most focused on the origin theory of Noh. The fact that appearance theory of Noh had originated from Sangaku was common opinion among Korean, Chinese, and Japanese scholars. However, they are agree with the opinion that according to the formation of the different genres, Noh's mainstream was different among three countries despite of the same origin. Yuan drama and Noh play have the same origin, but different branch. In relation to the Noh's origin theory, there are literature comparative studies in religious background, the studies presumed the origin of instrumental music related to those in mask plays, and the comparative studies between Korean mask plays and $ky{\bar{o}}gen$ of Nohgaku. Kyogen is the Comedy inserted among the stories in Nohgaku performed in just one day. Therefore, $ky{\bar{o}}gen$ must be discussed separately from the relations of 'shite[任手]'s inner action veiled with masks. This research figured out that the lacking points of the two countries' researches were the acting methods of Noh. Academic articles written by foreign scholars studying Korean and Chinese theatres should be included when this issue will be dealt with. In Korea and China, translation studies and writings regarding Nohgaku have studied by those who are major in Japanese literature or oriental literature. This case is the same in Korea in that scholars whose speciality is not theatre, but Japanese literature has studied. Therefore, this present study can give a good grasp of whole tendency on Nohgaku's research in theatre fields.