• Journal of Bio-Environment Control
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• v.32 no.4
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• pp.319-327
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• 2023

To harvest marketable cucumbers, high quality seedlings must be used. Producing seedlings in the greenhouse during the low radiation period decreases marketability due to insufficient light for growth. Supplemental lighting with artificial light of different quality can be used to improve low light conditions and produce high quality seedlings. Therefore, this study was conducted to select the appropriate supplemental light sources on the growth and seedling quality of grafted cucumber seedlings during the low radiation period. Three cultivars of cucumber were used as scions for grafting; 'NakWonSeongcheongjang', 'Sinsedae', and 'Goodmorning baekdadagi'. Figleaf gourd (Cucurbita ficifolia) 'Heukjong' was used as the rootstock. The seeds were sown on January 26, 2023, and grafted on February 9, 2023. After graft-taking, cucumbers in plug trays were treated with RB light-emitting diodes (LED, red and blue LED, red:blue = 8:2), W LED (white LED, R:G:B = 5:3:2), and HPS (high-pressure sodium lamp), respectively. Non-treatment was used as the control. Supplemental lighting was applied 2 hours before sunrise and 2 hours after sunset for 19 days. The stem diameter and fresh and dry weights of roots did not differ significantly by supplemental light sources. The plant height and hypocotyl length were decreased in W LED. However, the leaf length, leaf width, leaf area, and fresh and dry weights of shoots were the highest in the RB LED. Seedling qualities such as crop growth rate, net assimilation rate, and compactness were also increased in RB LED and W LED. After transplanting, most of the growth was not significant, but early yield of cucumber was higher in LED than non-treatment. In conclusion, using RB LED, W LED for supplemental light source during low radiation period in grafted cucumber seedlings improved growth, seedling quality, and early yield of cucumber.

• Journal of Bio-Environment Control
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• v.33 no.1
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• pp.22-29
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• 2024

This study was carried out to analyze the growth of grafted seedlings produced in a container-type farm system and a greenhouse to stably produce high-quality seedlings. For 14 days after graft-taking, the characteristics of korean melon grafted seedlings were compared by container farm and greenhouse. The container seedling system maintained a stable day/night temperature (25/20℃), relative humidity (70%), and light environment (PPFD 200µmol·m^-2·s^-1, photoperiod (16/8h). The difference between day and night temperature (DIF) was relatively large, with a mean temperature of 28.1/15.4℃ in the high-temperature greenhouse. Plant height of the korean melon seedling was longer in the greenhouse than in the closed seedling system, and the average SPAD value was 30.5 and 41.1 in the greenhouse and closed seedling system, respectively. To calculate the compactness of the graft seedlings, the shoot dry weight was divided by the plant height, and the value was 44.9±2.64 mg/cm and 24.4±1.56 mg/cm in the closed seedling system and the greenhouse treatment, respectively, 7 days after graft-taking. To produce high-quality seedlings during high-temperature or low-photo periods, it will be necessary to analyze the key factors that affect growth characteristics and transplanting growth and to verify the effects of the closed seedling system based on post-transplanting growth and yield.

• Journal of Korean Society of Forest Science
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• v.77 no.4
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• pp.429-444
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• 1988

Considering the recent trent toward the development of multiple-use of forest trees, investigations for comprehensive information on these young stands of Hinoki cypress are necessary for rational forest management. From this point of view, 83 sample trees were selected and cut down from 23-ear old stands of Hinoki cypress at Changsung-gun, Chonnam-do. Various stem growth factors of felled trees were measured and canonical correlaton analysis, principal component analysis and factor analysis were applied to investigate the stem growth characteristics, relationships among stem growth factors, and to get potential information and comprehensive information. The results are as follows ; Canonical correlation coefficient between stem volume and quality growth factor was 0.9877. Coefficient of canonical variates showed that DBH among diameter growth factors and height among height growth factors had important effects on stem volume. From the analysis of relationship between stem-volume and canonical variates, which were linearly combined DBH with height as one set, DBH had greater influence on volume growth than height. The 1st-2nd principal components here adopted to fit the effective value of 85% from the pincipal component analysis for 12 stem growth factors. The result showed that the 1st-2nd principal component had cumulative contribution rate of 88.10%. The 1st and the 2nd principal components were interpreted as "size factor" and "shape factor", respectively. From summed proportion of the efficient principal component fur each variate, information of variates except crown diameter, clear length and form height explained more than 87%. Two common factors were set by the eigen value obtained from SMC (squared multiple correlation) of diagonal elements of canonical matrix. There were 2 latent factors, $f_1$ and $f_2$. The former way interpreted as nature of diameter growth system. In inherent phenomenon of 12 growth factor, communalities except clear length and crown diameter had great explanatory poorer of 78.62-98.30%. Eighty three sample trees could he classified into 5 stem types as follows ; medium type within a radius of ${\pm}1$ standard deviation of factor scores, uniformity type in diameter and height growth in the 1st quadrant, slim type in the 2nd quadrant, dwarfish type in the 3rd quadrant, and fall-holed type in the 4 th quadrant.

• Childhood Kidney Diseases
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• v.5 no.1
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• pp.51-58
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• 2001

Purpose : Treatment of primary nocturnal enuresis (PNE) includs folk remedies and various treatments based on pathogenesis. We assessed the therapeutic effect of nocturnal water restrict ion as the primary treatment of PNE. Materials and methods : From October 1998 to June 1999, 41 children with PNE (>3 wet nights per week) who visited Ewha Womans University Mokdong hospital and who had good compliances to nocturnal water restriction for 2 months were included. Before and during nocturnal water restriction, daily fluid intake and urine volume were recorded for 2 days every 2 weeks. Responses to nocturnal water restriction were classified according to the decrease of wet nights as complete (>90$\%$), partial (50-90$\%$) and no (<50$\%$) response. Predictors such as age, sex, daytime voiding dysfunction, fluid intake, urine volume, maximum urine volume per void and fasting urine osmolality were evaluated. Results . The response rate to nocturnal water restriction fir 2 month was 82.9$\%$(34/41) [complete response 39.0$\%$(16/41), partial response : 43.9$\%$(18/41)]. The response rate to nocturnal water restriction was significantly higher in monosymptomatic PNE than polysymptomatic PNE and more effective in PNE with or nocturnal fluid intake, nocturnal urine volume, and maximum urine volume than lower nocturnal fluid intake, nocturnal urine volume and maximum urine volume per void (P<0.05). Nocturnal urine volume, maximum urine volume per void and luting urine osmolality after nocturnal water restriction has significantly increased higher in complete response and partial response group than in no response group (P<0.05). Conclusion : The nocturnal water restriction was effective in monosymptomatic PNE with nocturnal polydypsia, nocturnal polyuria and high bladder capacity. (J, Korean Soc Pediatr Nephrol 5 : 51- 8, 2001)

• Korean Journal of Organic Agriculture
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• v.22 no.4
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• pp.731-742
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• 2014

In the current study, we investigated effects of a combination of earthworm casting, environment-friendly by-product fertilizer, and cultivation soil of Gymnocalycium mihanovichii in a heavy fertilizing culture on diameter, height, numbers of tubercles, and chemical properties of soil thereby elucidating optimal mixture ratio for securing production as well as providing nutrients throughout cultivation period. The Gymnocalycium mihanovichii var 'Ihong', one of grafted cactus for export (Rootstock: 9 cm, Scion: $1.5{\times}1.3cm$ grafted cactus) was cultured in plastic houses of Agricultural Technology Center located in Naegok-dong, Seocho-gu, Seoul from June, 2013 through December, 2013. For the control group, a mixture of sand and fertilizer (50:50) was used as this ratio is widely utilized in farmhouses. In contrast, a variety mixtures of sand and earthworm casting that was produced with food wastes was compared; the mixture ratios were 80:20, 60:40, 40:60, 20:80, and 0:100 and pH for these mixtures were found to be similar each other (ranging between 7.1 and 7.4) which is in an appropriate range (pH 6.5-7.5) for cultivation of G. mihanovichii. The organic content was increasing along with increasing contents of earthworm casting ratio while it was lower than the treatment practice group (32-43 mg/kg vs. 55 mg/kg). The content of exchangeable cation was also increasing as the ratio of earthworm casting was elevated; although levels of $K^+$, $Na^+$, and $Mg^{2+}$ were lower than the treatment practice group, the level of $Ca^{2+}$ was higher ($9.1cmol^+/kg$ and $11.5-33.7cmol^+/kg$ in the treatment practice group and the earthworm casting group, respectively). Three months after grafting, diameters of G. mihanovichii were compared with the control group; consequently, there was a significant difference noted in between the earthworm casting group and the control group (31.39 mm vs. 32.46-37.59 mm). After 5 months, growth characteristics of G. mihanovichii were evaluated. Similarly, the diameter of G. mihanovichii was significantly increasing in the group with higher ratio of earthworm casting treatment (32.63 mm vs. 32.49-37.59 mm). The height of tubercles was 2.63 mm in the control group while it was significantly elevating along with the ratio of earthworm casting mixture. The more numbers of tubercles, the more incomes for farm-houses; as results, higher mixture ration of earthworm casting resulted more numbers of tubercles compared to the control group (2.7 vs. 3.2-8.3 ea). In particular, in the earthworm casting groups with 80% and 100% ratios, the numbers of tubercles were 6.2 and 8.3 ea, respectively, which is 2.5 times more than those of the control group. These results indicate that earthworm casting treatment may be utilized in G. mihanovichii farming houses for short term production of tubercles. In the group with 40% and 60% of earthworm casting mixture, the numbers of tubercles were found to be 4.5 and 4.8 ea, respectively which is higher than the control group as well; in these groups, there were no issues with soil drainage as well as moss formation. Given the analysis results of growth characteristics of G. mihanovichii, it was concluded that 40% and 60% of earthworm casting mixture might be the optimal ratios.

• The Journal of Korean Philosophical History
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• no.36
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• pp.101-133
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• 2013

In this paper, the writer investigated the thoughts on military art and science with a focus on the typical books on military art and science, which was published in the latter period of Joseon, and the discussion of literati in that time. Joseon had been happy to enjoy the piping times of peace for about 200 years ever since the establishment of the dynasty. However, having had to gone through two major wars, the Joseon Dynasty, revolving around scholarly people, had awakened the limits of military art and science of Joseon. It can be said that the countermeasure against Japanese pirates, which were reflected in the "Jingbirok" (懲毖錄 - Records of the 1592 Japanese Invasion) written by Yu Seong-ryong, and the experiences of war had formed the basis of the thoughts on military art and science in the latter period. Regrettably, there were no suggestions or proposals of preparing countermeasure against Japanese raiders in the books of military art and science in the early period of the Joseon Dynasty. Meanwhile, as the argument about the battle formation in the early period of Joseon, the process of establishing the military science had not gone smoothly in the latter period of Joseon. Right after the Japanese invasion of 1592, "Gihyo-Sinseo" (紀效新書 - New Text of Practical Tactics written by Cheok Gye-gwang) was brought into the country by the army of Ming (明) Dynasty. At first, this was used in the form of its original edition, or of abstract version in the military drill. But, later, it was published under the title of "Byeonghak-jinam" (兵學指南 - Military Training Manual about Action Rules by combat situation). This book, same as in Zhejian (浙江) province in China, had achieved a positive effect on counteracting the Japanese raiders in our country. However, these military tactics were conflicted with "Owi Jinbeop" - Rules of Deployment of the Five Military Commands, which had been handed down ever since the early period of the Joseon Dynasty, and, at the same time, it was pointed out that those tactics would not be able to apply to the situation uniformly, since Korea and China were geographically different. Furthermore, having gone through Manchu Invasion of 1636 (丙子胡亂, Byeongja horan) Joseon had used "Yeonbyeongsilgi" (練兵實記 - the Actual Records of Training Army), which was compiled in China on the basis of the experiences of wars against the nomad, including Mongolia and so on. And, this had become a typical training manual together with "Byeonghak-jinam". King Yeong Jo and King Jeong Jo of the Joseon Dynasty had tried to establish uniformity in military training by publishing the books of military science representing the latter period of Joseon such as "Sokbyeongjangdoseol" (續兵將圖說- Revision of the Illustrated Manual of Military Training and Tactics,) "Byeonghaktong" (兵學通 Book on Military Art and Science,) "Byeonghakjinamyeonui" (兵學指南演義 - Commentary on 'Byeonghak-jinam') and "Muyedobotongji"(武藝圖譜通志 - Comprehensive Illustrated Manual of Martial Arts,) and so on. King Jeong Jo had actively participated in the arguments in those days. So then the arguments that had been continued for about 200 years, ever since King Seon Jo, put to an end. To sum up the distinctive features of military art and science in both former and latter period of the Joseon Dynasty, in the former period of Joseon, the reasoning military science was proceeded with the initiative of civic official based on "Mugyeongchilseo"(武經七書- the Seven Military Classics). However, in the latter period of Joseon, "Gihyo-Sinseo"(紀效新書 - New Text of Practical Tactics written by Cheok Gye-gwang) had served as a momentum, and also comparatively a large numbers of military official had participated in arguments, so then such an occasion had made the military science turn into the Practical Theory. Meanwhile, King Sejo and King Jeong Jo had played a leading role in the process of establishing the theory of military science of Joseon, however, there are something in common that their succession to the throne was not smooth. This is the part that reminds us "War is an extension of politics," the thesis of Clausewitz

• (The) Research of the performance art and culture
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• no.20
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• pp.5-30
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• 2010

It has been diversified and serious attempt to establish the identity of Changgeuk, but it is still independent dramaturgy or the current unformed progressive art. In this situation, exploring works of the identity of changgeuk that is base on the performed individual and specific works in the title of Changgeuk is needed. The 80s and 90s Heo, Gyu was leading an active life as a director who was responsible for directing of Changgeuk. He dramatized Siljeon Pansori -which is a group of Pansori missing text- as well as 5-remained Songs in Pansori and he presented a number of creative Changgeuk works on stage. Especially, the completion of dramatizing 5-remained Songs in Pansori under the name of 'Wanpan Changgeuk -which means full version performance without omit-' is the one of his big achievement by performing "Heungbojeon" on the stage 1982 and "Jeokbyeokga" 1985. The purposes of this research are confirmation of Heo's direction of the formulation and considering its characteristics & significance through 'Wanpan Changgeuk' which written by Heo. Heo was a practical play who was interested in the subjective formulation of national culture and creative transmission for Korean traditional performance. He tried to formulate Changgeuk to a representative performance of Korea. In the process he pointed out those problems, (1) interpretation of a work problem, (2) actor's creative problems, (3) structure problem of theater for Changgeuk. He indicated that the other challenges are to use of the stage & device, to overcome sentimentalism, to stylize acting, to improve own quality, to control the speed and length of the song, to choose the suitable musical accompaniment, to create new repertories problems, and etc. Changgeuk is classified in 3 group by origin, (1)dramatizing of 5-remained Songs, (2)dramatizing of 7-missing Songs, (3)creative dramatizing. It contains all of 3 types that Heo's work. The dramatizing of remained 5 Songs are the great importance among those works. Heo hoped that Chaggeuk has become the most representative art work of Korea by performing 'Wanpan Changgeuk' compiled heritage of Korea's outstanding artistic achievement. The characteristics of 'Wanpan Changgeuk' can be summarized following four. (1) Directing attitudes that emphasizes tradition, (2) Accepting the elements of traditional performance actively, (3) Valuing the classy and ethic, (4) Emphasizing humor and active utilizing of the secondary characters. Heo's 'Wanpan Changgeuk' shows a peak of the artistic level which Changgeuk can be reached. He want to make Changgeuk a Korean representative artistic performance by compiling Pansori heritage and accommodating Korean traditional performance. Heo continued his effort to present Pansori's authenticity and to dramatize from beginning to end without missing. It shows very well that 'Wanpan Changgeuk' takes 4~5 hours for playing. It looks Heo's achievement in the 'Wanpan Changgeuk' influenced Changgeuk significantly since then. Heo's 'Wanpan Changgeuk' is matrix of 'Wanpan JangMak Changgeuk' attempted in the 1990s. Especially, their intent is consistent to synthesize texts and to show all the virtue of Pansori. But 90's 'Wanpan JangMak Changgeuk' aim for large stage, fancy device & costume and variety contents compared with 'Wanpan Changgeuk'. Recently, producers have tried not to make a impressive Changgeuk but to make a interesting one. They usually organize performance within 2 hours and prefer orchestral music to its unique sound. In those point of view, it seems that Heo's idle in 'Wanpan Changgeuk' has become one of target to conquer in these days.

• Journal of Popular Narrative
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• v.26 no.3
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• pp.45-86
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• 2020

In this article, the "modernization of the tradition" constructed on the cultural politics and the way in which it appropriated in the korean theatre in the 1970s were analyzed. It is trying to reveal its implications. It is also a work to critically review the aspects of self-censorship in the korean theatre in the 70s. To that end, we looked at the theatre company Minye Theatre, which preoccupied the traditional discussions in the 1970s by creating national dramas. Until now, the evaluation of the theatre company Minye Theatre in the 1970s has focused on the achievement on the directing of Heo Gyu, who promoted the succession and transformation of tradition. However, the traditional ideology constructed in the state-led cultural politics in the 70s and the way in which it was operated cannot be evaluated only in terms of artistic achievement. The ideology of tradition is selected according to the selective criteria of the subject to appropriate tradition. What's important is that certain objects are excluded, discarded, re-elected, re-interpreted and re-recognized in the selection process of selected traditional ideology. This is the situation in the '70s, when tradition was constantly re-recognized amid differences between the decadent and the disorder that were then designated as non-cultural, and led to a new way of appropriate. The nation-led traditional discussion of the '70s legalized the tradition with stable values, one of the its way was the national literary and artistic support. Under the banner of modernization of tradition, theatre company Minye preoccupied the discussions on the tradition and presented folk drama as a new theatre. As an alternative to the crisis of korean theatre at the time, the Minye chose the method of inheriting and transforming tradition. It is noteworthy that Heo Gyu, the representative director of the theatre company Minye, recognized the succession and transformation of traditional performance as both a calling and an experiment. For Heo Gyu, tradition was accepted as an irresistible stable value and an unquestionable calling, and as a result, his performance, filled with excessive traditional practices, became overambitious, especially when it failed to reflect the present-here reality, the repeated use of traditional expression tools resulted in skilled craftsmanship, not artistic creation. The traditional ideology of the 70s unfolds in a new aspect of appropriation in the 80s. In 1986, Son Jin-Cheok, Kim Seong-nyeo, and Yoon Mun-sik, who were key members of the theatre company Minye Theatre, left the theatre to create the theatre company Michu, and secured popularity through Madangnori(popular folk yard theatre). Son Jin-Cheok's Madangnori is overbearing through satire and humor. It gained popularity by criticizing and mocking state power. On the other hand, not only the form of traditional performance, but also the university-centered Madanggeuk movement, which appropriated on the spirit of resistance from the people to its traditional values, has rapidly grown. In the field of traditional discussions of the 70s, Madanggeuk was self-born through appropriation in which the spirit of resistance of the people is used as a traditional value. Madanggeuk as well as Michu that achieved the popularization of Madangnori cannot be discussed solely by the artistic achievement of the modernization of tradition. Critics of korean theatre in response to state-led traditional discussions in the 70s was focused only on the qualitative achievement of performing arts based on artistry. I am very sorry for that. As a result, the popular resistance of the Madanggeuk and the Madangnori were established in the 'difference' with the traditions of the theatre company Minye Theatre. Theatre company Minye Theatre was an opportunity for the modernization of tradition, but the fact that it did not continuously produce significant differences. This is the meaning and limitation of the "tradition" of the theatre company Minye Theatre in the history of korean theatre in the 1970s.

• Korean Journal of Heritage: History & Science
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• v.46 no.2
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• pp.186-205
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• 2013

${\ll}$Three Purities Album${\gg}$ in the Kansong Art Museum is an album of poems and pictures of apricot tree, orchids and bamboos drawn by Lee Jeong. Given that the poems and pictures in the album were drawn by Lee Jeong who has been recognized as a person who established the standards of ink bamboo drawings in the Joseon Dynasty, the album is highly valuable. Nevertheless, there are more values and meanings that Three Purities Album has. The production circumstances and transmission processes of Three Purities Album include the historical characteristics and meanings of the time so that it is also worthwhile as a historical material. During the Japanese Invasion of Korea in 1592, Lee Jeong was stabbed with a sword by Japanese invaders and got injured. After he suffered, he tried to make his masterpiece in his lifework and finally created Three Purities Album. For the work, Lee Jeong received memorial writings from Choi Rip, Cha Cheon-ro and Han Ho, and asked them writings. They were the best literary men in the poem and calligraphy fields at that time. Yu Geun, Lee An-nul, and Yu Mong-in made writings and poems to praise his work. Likewise, ${\ll}$Three Purities Album${\gg}$ is the 'treasure of the time' created through the participation of the best literary men at that time. Given the aspects, it is fair to say that ${\ll}$Three Purities Album${\gg}$ is not simply a personal artwork of Lee Jeong, but is a comprehensive artwork and also a cultural monument created through the skills and capabilities of the literary artists in the middle of the Joseon Dynasty. After the death of Lee Jeong, Three Purities Album was handed over to Hong Ju-won. But, during the second Manchu Invasion into Korea in 1636, the album was in danger of disappearance by fire. As of now, there are still signs of fire in it, which vividly shows the urgent situation at that time. After the second Manchu Invasion into Korea in 1636, Hong Ju-won recovered some damaged writings with the help of Yoon Shin-ji. Since then, the album had been handed down as a family treasure over the next 7 generations. It can be found in the writings by Song Si-yeol and Uh Yu-bong. Unlike the literary men who praised Three Purities Album in terms of its work when Lee Joeng was alive, they focused on the transmission courses of the album and involved persons. That seems to be because the stories and characters appearing in Three Purities Album impressed the later literary men and were meaningful to them rather than the album itself. It strongly reflected the positions of Hong Jung-gi and Hung Sang-han who asked for writings as the descendants of Hong Ju-won. That is because the traces of the persons involved in Three Purities Album are the causes for admiring their ancestors and enhancing their political legitimacy and family dignity. Therefore, in this aspect, it is possible to witness the fundamental causes of the unique artistic awareness by East Asian people who consider their historical meanings as well as the aesthetic value of artworks significant. Unfortunately, during the Japanese invasion at the end of the Joseon Dynasty, Three Purities Album was handed over to Japanese Tzuboikouso. But, fortunately, Jeon Hyeong-pil who made an effort to regain our cultural assets by investing his entire property during the Japanese Imperialism regained the album, which is now preserved in the Kansong Art Museum. ${\ll}$Three Purities Album${\gg}$ truly includes the whole processes to overcome national crises that Korean people experienced during the Japanese Invasion in 1592, the second Manchu Invasion of Korea in 1636, and the Japanese Imperialism, and it shows the sufferings of our cultural assets and the history of preservation. Also, the album shows that one artwork is able to accumulate its historical meanings in the process of transmission and thus enhances its meanings and values. ${\ll}$Three Purities Album${\gg}$ features accumulative and constant historical meanings and it is a typical case showing that an artwork is plenty of aesthetic and historical values. It is expected that this work will contribute to promoting more studies on finding historical meanings and hysteresis of artworks.