• Journal of the Korean Institute of Landscape Architecture
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• v.49 no.5
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• pp.97-111
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• 2021

The purpose of this study was to analyze commemoration characteristics of the United States of America, the Commonwealth, and Germany through representative 14 military cemeteries of World war II in Western Europe. Based on the commemoration characteristics such as spacial characteristic, commemorative elements, and graves and headstone, the commemoration culture among U.S., the Commonwealth. and Germany were studied comparatively. The results are as follows. First, taking geometrical form with mainly square type, rarely circle and spiral patterned, most cemeteries were structured spatial central axis with symmetry, those cemeteries were styled neoclassical, but some of the U.S. cemeteries were modernistic, connecting spaces organically with curved line layout. Second, chapel, the wall of missing, the wall of battle map, and sculpture in the U.S military cemeteries, and 'the cross of sacrifice' and 'the stone of remembrance' as classical monument in the Commonwealth war cemeteries were commonly applied standardized commemorative elements, but commemorative monuments in German military cemeteries were restricted except monumental cross. Third, the symbolic cross of christianism was used all cemeteries to console and cherish the soul of soldiers, specially the Latin crosses in the U.S military cemeteries delivered political message as the american martyr for Western Europe and also the power of the U.S., but the cross in German and the Commonwealth war cemeteries were basically cherish and comfort individual spirit. Fourth, showing the power of victory with national patriotism, the U.S. strongly represented christianism and liberal democracy against communism, the Commonwealth showed imperialistic style, and German military cemeteries were quietly appeared as traditional style forwarding reconciliation and peace. This study suggest the war cemeteries have national identity with typical form and symbolic aesthetics. Further study will be required to materialize sublime commemoration in national cemeteries and to form advanced commemorative culture in Korea.

• Journal of Nutrition and Health
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• v.54 no.1
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• pp.10-22
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• 2021

Purpose: Key Foods refers to foods that have a high contribution in the nutrient intake of individuals, and exert important effects on their health. This study was undertaken to identify Korean Key Foods, using data from the 7th Korea National Health and Nutrition Examination Survey (KNHNES). Methods: The data source for the extraction of Key Foods was the 24-hour dietary survey data obtained from the 7th KNHNES (2016-2018), and 21,271 subjects were evaluated. A total of 17 nutrients were selected as the key nutrients for identifying the Key Foods, including energy, carbohydrates, protein, lipid, dietary fiber, calcium, phosphorus, iron, sodium, potassium, vitamin A, thiamin, riboflavin, niacin, vitamin C, cholesterol, and sugars. The nutrient consumption approach was applied to generate a list of potential Key Foods. Foods included in 85% of the cumulative intake contribution from one or more key nutrients, were subsequently selected as Key Foods. Results: Of the 1,728 foods consumed by survey respondents, we extracted 728 Key Foods. These Key Foods explained 94% key nutrient intakes of the subjects. Based on the contribution rate to key nutrient intake, the top 10 Key Foods identified were multigrain rice (5.32%), plain white rice (4.23%), milk (3.3%), cabbage kimchi (2.82%), grilled pork belly (1.56%), apples (1.52%), fried eggs (1.49%), cereal (1.36%), instant coffee mix (1.21%), and sweet potatoes (1.12%). These 10 foods accounted for 23.93% total key nutrient intake of the survey respondents. Conclusion: Seven hundred and twenty-eight foods were extracted and identified as the 2020 Korean Key Foods. These Key Foods can be considered the priority foods to be analyzed for establishing a national nutrient database.

• Journal of Nutrition and Health
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• v.55 no.3
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• pp.321-329
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• 2022

Riboflavin and its derivatives, flavin mononucleotide (FMN) and flavin adenine dinucleotide (FAD), are key components of mitochondrial energy metabolism and oxidation-reduction reactions. Proposed dietary reference intakes for Koreans (KDRIs), that is, estimated average requirements (EARs), for riboflavin, based on current knowledge of riboflavin and riboflavin derivative levels, and glutathione reductase activity, are 1.3 mg/d for men aged 19-64 years and 1.0 mg/d for women aged 19-64 years. By applying a coefficient of variance of 10%, reference nutrient intakes (RNIs) were set at 1.5 mg/d for men aged 19-64 years and 1.2 mg/d for women aged 19-64 years. Likewise, EARs and RNIs of riboflavin intake were proposed for all age groups and women in specific life stages such as pregnancy. Mean adult riboflavin intake for adults aged ≥ 19 years was 1.69 mg/d in Korea National Health and Nutrition Examination Survey (KNHANES) 2020, which was 124.9% of EAR according to the 2020 KDRIs. In the 2015-2017 KNHANES study, the mean riboflavin intake from foods and supplements was 2.79 mg/d for all age groups, and 32.7% of individuals consumed less riboflavin than EAR according to the 2020 KDRIs. For those that used supplements, mean intakes were 1.50 mg/d for riboflavin from foods, 10.26 mg/d from supplements, and 11.76 mg/d from food and supplements, and 5.5% of individuals consumed less riboflavin than EAR. Although the upper limit of riboflavin has not been established, the merits of increasing supplement use warrant further consideration. Also, additional epidemiologic and intervention studies are required to explore the role of riboflavin in the etiology of chronic diseases.

• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.191-200
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• 2020

Companies are seeking to maximize profits through exports and imports in the ultra-fast, ultra-high-speed modern society. It is only possible to sustain its survival if it targets the global market, not based on any specific region. The K-POP group is also targeting overseas markets in a manner similar to the various global strategies used when companies make inroads into foreign markets, including exports, contracts and direct investment. The K-POP group is engaged in various forms of activities, ranging from simple forms of performance (export) that are visited and staged by an invitation from a certain foreign country to series performances (license) by an invitation from a local promoter and tour performances using its capabilities. The K-POP group is seeking to go beyond the art of single-stage performances and make a systematic plan and make inroads into foreign countries in the form of direct investment suitable for each foreign country. The K-POP group made inroads into overseas markets in the form of simple performances from the late 1990s to 2005, when 'Korean Wave' was first introduced. Group H.O.T., etc. are typical examples. Since then, it has sought to enter overseas markets in the form of franchises by accepting overseas members by 2018, starting with Super Junior in 2005. Since then, the K-POP group in the form of joint investment attempted as group IZ*ONE in 2018 appeared, and a voice story came out in September 2018 when South Korea's JYP Entertainment and Tencent of China joined forces. Unlike K-POP Group, which has entered foreign markets with a global strategy based on the existing export method (H.O.T.), 'Boystory' is a representative group that is made with joint investment, which is a direct investment method. In February 2020, RBW released 'D1Verse,' a five-member group selected by Vietnam's reality show, as a joint investment-type group. This shows the possibility that domestic and foreign companies will release a group in the form of joint investment in order to pursue both globalization and localization.

• KSCE Journal of Civil and Environmental Engineering Research
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• v.26 no.4C
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• pp.247-254
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• 2006

Online testing method is one of the numerical experiment methods using experimental information for a numerical analysis directly. The method has an advantage in that analysis can be conducted without using an idealized mechanical model, because mechanical properties are updated from element test for a numerical analysis in real time. The online testing method has mainly been used for the geotechnical seismic engineering, whose major target is sand. A testing method that may be applied to a consolidation problem has recently been developed and laboratory and field verifications have been tried. Although related research thus far has mainly used a method to update average reaction for a numerical analysis by positioning an element tests at the center of a consolidation layer, a weakness that accuracy of the analysis can be impaired as the thickness of the consolidation layer becomes more thicker has been pointed out regarding the method. To clarify the effectiveness and possible analysis scope of the online testing method in relation to the consolidation problem, we need to review the results by applying experiment conditions that may completely exclude such a factor. This research reviewed the results of the online consolidation test in terms of reproduction of the consolidation settlement and the dissipation of excess pore water pressure of a clay specimen by comparing the results of an online consolidation test and a separated-type consolidation test carried out under the same conditions. As a result, the online consolidation test reproduced the change of compressibility according effective stress of clay without a huge contradiction. In terms of the dissipation rate of excess pore water pressure, however, the online consolidation test was a little faster. In conclusion, experiment procedure needs to improve in a direction that hydraulic conductivity can be updated in real time so as to more precisely predict the dissipation of excess pore water pressure. Further research or improvement should be carried out with regard to the consolidation settlement after the end of the dissipation of excess pore water pressure.

• (The) Research of the performance art and culture
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• no.23
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• pp.37-61
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• 2011

The Noh(能) performance is a traditional drama that represents Japan. The Noh performance was approved in the background of religious thought such as Shintoism(神道), Buddhisms(佛敎), and Syugendo(修驗道). Especially, the influence from Shugendo is large. Shugendo was active in the Middle Ages. Especially, the influence from Shugendo is large. Shugendo was active in the Middle Ages. The Noh was approved while receiving a large influence from Shugendo. It can know the feature of the Shugen(修驗) culture in the Middle Ages through the consideration of . Moreover, the appearance of the training of 'Yamabusi(山伏)' can be seen. "Yamabusi" has not been paid to attention up to now in the research of . And, the focus was appropriated to Yamabusi and it researched in this text. Moreover, the problem of "Chigo(稚子)" is thought through . "Chigo culture" was general in the Middle Ages. It is thought that "Chigo culture" is reflected in . is an Noh performance for the boy named 'Wakamatsu' to enter the mountain and to train. It is because mother's sickness was cured. However, the boy gets sick while it is training. It was dropped to the valley according to the law of Shugendo, and it died. However, it revives by the Yamabusi's prayers. 'Taniko' is to drop to the valley and to bury it when the Yamabusi gets sick while lived. The title of the Noh originated in here. has elements of history, content of training of Shugendo, "Filial piety", and the Chigo culture, etc. These are features of the culture in the Middle Ages. It is not only a sad content though this is a content of the cruel remainder. It is because of the revival though waited rapidly at the end. As for the difficulty of training is drawn in the round, and the appearance of the training at that time is understood well. The essence of Shugendo is to train in the mountain. Supernatural power can be obtained through training. Moreover, it was thought that it was able to be newly reborn through training. The leading part of Shugendo is an Yamabusi. The Yamabusi took an active part in not only the mountain but also the village. The Yamabusi is ordinary people's lives and because the relation is deep, an important factor it knows the folk customs of Japan. The word 'Chigo' is not written in . However, a spectator at that time is 'Chigo' Wakamatsu and is already sure to have understood 'Chigo'. Because everyone knew the Chigo culture in the Middle Ages. A religion at that time and knowledge of the society are necessary to understand the play of Nho well.

• Asia Marketing Journal
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• v.14 no.1
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• pp.53-81
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• 2012

Constructing attractive bundle offers depends on more than an understanding of the distribution of consumer preferences. Consumers are also sensitive to the framing of price information in a bundle offer. In classical economic theory, consumers' utility should not change as long as the total price paid stays same. However, even when total prices are identical, consumers' preferences toward a bundle product could be different depending on the format of price presentation and the locus of price discount. A weighted additive model predicts that the impact of a price discount on the overall evaluation of the bundle will be greater when the discount is assigned to the more important product in the bundle(Yadav 1995). Meanwhile, a reference dependent model asserts that it is better to assign a price discount to a tie-in component that has a negative valuation at its current offer price than to a focal product that has a positive valuation at its current offer price(Janiszewski and Cunha 2004). This paper has expanded previous research regarding price discount presentation format, investigating the reasons for mixed results of prior research and presenting new mechanisms for price discount framing effect. Prior research has hypothesized that bundling is used to sell a tie-in component with an offer price above the consumer's reference price plus a focal product of the same offer price with reference price(e.g., Janiszewski and Cunha 2004). However, this study suggests that bundling strategy can be used for increasing product's attractiveness through the synergy between components even when offer prices of bundle components are the same with reference prices. In this context, this study employed various realistic bundle sets with same price between offer price and reference price in the experiment. Hamilton and Srivastava(2008) demonstrated that when evaluating different partitions of the same total price, consumers prefer partitions in which the price of the high-benefit component is higher. This study determined that their mechanism can be applied to price discount presentation formats. This study hypothesized that price discount framing effect depends not on the negative perception of tie-in component with offer price above reference price but rather on the consumers' perceived consumption benefit in bundle product. This research also hypothesized that preference for low-benefit discount mechanism is that perceived consumption benefit reduces price sensitivity. Furthermore, this study investigated how consumers' concern for quality in a price discount--a factor not considered in previous research--influences price discount framing. Yadav(1995)'s experiment used only one magazine bundle of relatively low quality uncertainty and could not show the influence of perceived uncertainty of quality. This study assumed that as perceived uncertainty of quality increases, the price sensitivity mechanism for assigning the discount to low-benefit will increase. Further, this research investigated the moderating effect of uncertainty of quality in price discount framing. The results of the experiment showed that when evaluating different partitions of the same total price and the same amount of discounts, the partition that discounts in the price of low benefit component is preferred to the partition that decreases the price of high benefit component. This implies that price discount framing effect depends on the perceived consumption benefit. The results also demonstrated that consumers are more price sensitive to low benefit component and less price sensitive to high benefit component. Furthermore, the results showed that the influence of price discount presentation format on the evaluation of bundle product varies with the perceived uncertainty of quality in high consumption benefit. As perceived uncertainty of quality gradually increases, the preference for discounts in the price of low consumption benefit decreases. Besides, the results demonstrate that as perceived uncertainty of quality gradually increases, the effect of price sensitivity in consumption benefit also increases. This paper integrated prior research by using a new mechanism of perceived consumption benefit and moderating effect of perceived quality uncertainty, thus providing a clearer explanation for price discount framing effect.

• Korean Journal of Heritage: History & Science
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• v.39
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• pp.351-378
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• 2006

With the development of media, the methods for the documentation of intangible cultural heritage have been also developed and diversified. As well as the previous analogue ways of documentation, the have been recently applying new multi-media technologies focusing on digital pictures, sound sources, movies, etc. Among the new technologies, the documentation of intangible cultural heritage using the method of 'Motion Capture' has proved itself prominent especially in the fields that require three-dimensional documentation such as dances and performances. Motion Capture refers to the documentation technology which records the signals of the time varing positions derived from the sensors equipped on the surface of an object. It converts the signals from the sensors into digital data which can be plotted as points on the virtual coordinates of the computer and records the movement of the points during a certain period of time, as the object moves. It produces scientific data for the preservation of intangible cultural heritage, by displaying digital data which represents the virtual motion of a holder of an intangible cultural heritage. National Research Institute of Cultural Properties (NRICP) has been working on for the development of new documentation method for the Important Intangible Cultural Heritage designated by Korean government. This is to be done using 'motion capture' equipments which are also widely used for the computer graphics in movie or game industries. This project is designed to apply the motion capture technology for 3 years- from 2005 to 2007 - for 11 performances from 7 traditional dances of which body gestures have considerable values among the Important Intangible Cultural Heritage performances. This is to be supported by lottery funds. In 2005, the first year of the project, accumulated were data of single dances, such as Seungmu (monk's dance), Salpuri(a solo dance for spiritual cleansing dance), Taepyeongmu (dance of peace), which are relatively easy in terms of performing skills. In 2006, group dances, such as Jinju Geommu (Jinju sword dance), Seungjeonmu (dance for victory), Cheoyongmu (dance of Lord Cheoyong), etc., will be documented. In the last year of the project, 2007, education programme for comparative studies, analysis and transmission of intangible cultural heritage and three-dimensional contents for public service will be devised, based on the accumulated data, as well as the documentation of Hakyeonhwadae Habseolmu (crane dance combined with the lotus blossom dance). By describing the processes and results of motion capture documentation of Salpuri dance (Lee Mae-bang), Taepyeongmu (Kang seon-young) and Seungmu (Lee Mae-bang, Lee Ae-ju and Jung Jae-man) conducted in 2005, this report introduces a new approach for the documentation of intangible cultural heritage. During the first year of the project, two questions have been raised. First, how can we capture motions of a holder (dancer) without cutoffs during quite a long performance? After many times of tests, the motion capture system proved itself stable with continuous results. Second, how can we reproduce the accurate motion without the re-targeting process? The project re-created the most accurate motion of the dancer's gestures, applying the new technology to drew out the shape of the dancers's body digital data before the motion capture process for the first time in Korea. The accurate three-dimensional body models for four holders obtained by the body scanning enhanced the accuracy of the motion capture of the dance.

• (The) Research of the performance art and culture
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• no.42
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• pp.47-75
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• 2021

This thesis looks into the interpretation of the Korean War and mystery genre in Korea in the 1970s by analyzing the special drama , in which the theme was directly related to the Korean War, airing through MBC in 1979. It begins by finding the change in direction in the 1970s when the world of TV was dictated through the heavy censorship and the memory of the war by the government. It also looks at the intentions of the producer who was taking in the new way and the viewers who also accepted this drama and its reflections. In order to gain some insights into these issues, it compares between the drama "The Last Witness" and the original novel by Seong-jong Kim who holds the same time to see the way in which this is dramatized. The drama, "The Last Witness", was produced with a plan to generate a high-quality special drama which combined both artistry and sense of purpose. Nevertheless, as watching TV became a leisurely past-time during this period, TV dramas become more aggressive and suggestive in order to attract viewers. This ultimately was encored with obstacles due to the regime and the heavy censorship at the time. The genre of special drama that is well known in South Korea, is designed as an art form to satisfy both their unique artistry and its purpose. The conflict is seen between the key elements of the artistic drama crated by the producers and the 'encouraged' elements that often are needed to engage the viewers. Thus, more often than not, special dramas defeat the original intention of national harmony, encouraged by the regime. This is due to the 'novelty' aspect which grows from the effort of bringing enjoyment to viewers whilst also trying to achieve the artistic drama to life. Alongside this, crime element in this drama is designed in a way that visually embodies the process of deduction, becoming a new possibility to secure the reality of the times. However, it was also a paradoxical existence since it was indicated as an example of unrefined culture that lost its original intention. In that way, it is worth to think that detective suspense stories, which were not popular in Korea, influenced viewers as a tv drama series in the 1970s through the various elements that compose the genre. They went through a process of transplantation and acceptance whilst also attempting to satisfy the viewers and their encouraged elements to engage them. As is well known, crime drama in Korea has its own style by mixing anticommunism and detective reasoning. This combination is found in the way in which the genre naturally forms through the elements selected and excluded in the dramatization of "The Last Witness". The point is that the special drama "The Last Witness" can be seen as an intermediate form that shows the tendency of transformation from the detective reasoning form alongside the crime aspects as TV dramas began to include anticommunism messaging and investigation in the 1970s. In conclusion, when the detective reasoning is used as an element in a TV drama, it shows the trust of the public system and it constantly seeks the possibility of circumventing the political interpretation. The memories of the war is seen as a tool that neutralizes the dismal imaginations inscribed on the dark side of society and the system. As a result, "The Last Witness", broadcasted at the end of the Yushin regime in Korea, is a strange result which combines the logic of a special drama and the encouraged characteristics of television dramas. The viewers' desire which is the discussion about the hidden traces from the texts needs to be restored again.