• Journal of the Korea Academia-Industrial cooperation Society
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• v.7 no.6
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• pp.1407-1415
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• 2006

Japan started to colonize Korea in 1910. It's when It forced and made Chosun sign on the Treaty of Protectorate. The Chosun faithfully practiced Japan's colonial policy over Korea. Futhermore, it stopped many Koreans from an anti-Japanese movement and tried to make Koreans have a positive attitude towards Japan. For this, Japan advertised the policy called Nae-sun-il-che which meant Korea and Japan were a community together from the same root. Ultimately, it targeted on absorbing Korea within their territory. With this goal, Japan kept on practicing the policy to acculturize and brainwash Koreans, totally depending on force and pressure from 1910 to 1919. However, this policy had changed by the overall anti-Japanese movement happening on March 1st 1919. Saito, the third governor-general who was appointed laster on, made an effort to win over He favor of Koreans in a less forceful way of the cultural politics. The change of policy had been specified in diverse actions such as permitting civil mass-media bodies forming the observation groups and opening conferences. In the case of daily newspapers, Japan had permitted only the ones by the Government-General of Chosun such as Maeil-shinbo, Kyunsung-ilbo, and Seoul Press before, but then other civil newspapers In Korean stated to be released. Along His Japan formed both Korean and Japanese observation groups to promote the mutual understanding and showed off Japan's goods in the propaganda films by implementing a film department. It's because Japan totally recognized and understood the impact of films. Therefore, Japan distincitively established a film agency for the production of propaganda movies while it banned the civil film production after 1937 when Japan started the war against China and USA in row. So, only one film agency, ruled by the Government-General of Chosun, produced movies from 1942 to 1945.

• Korean Journal of Veterinary Research
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• v.33 no.4
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• pp.657-664
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• 1993

To reveal the immunogenicity of ${\gamma}-irradiated$ E tenella and its progeny, a series of experiments on the effects of Cobalt-to ${\gamma}-irradiation$ was performed. The SPF chickens inoculated with diffenrt doses of inoculum were challenged with $1{\times}10^5$ oocysts of virulent E tenella. The levels of 100 Gy ${\gamma}-irradiation$ from $^{60}Co$ and of inoculum with $1{\times}10^4$ oocysts were recognized as proper as immunogen by comparison of survival rates, body weight gains, blood in feces and lesion scores in the chickens. In these trials of challenge with virulent E tenella after inoculation with $1{\times}10^4$ oocysts of the ${\gamma}-irradiated$ E tenella and its progeny, the survival rates of the chickens challenged with the virulent E tenella after immunization with the 1st and the 3rd progeny groups of ${\gamma}-irradiated$ E tenella oocysts were higher(l00%) than that(87.0%) of the challenged control group. The signs of blood in feces and the lesion scores were seen markedly lower with the ourput of the smaller number of oocysts, i.e. OPG 103,900 and 25,800 in the groups of the 1st and the 3rd progeny, respectively, than those(OPG 1,658,900) of the challenged control group. The body weight gains of the 1st and the 3rd progeny groups, the 1st week and the 2nd week after challenge, were higher (2.6g and 155.4g, 11.6g and 168.9g respectively) than those(-85.8g and 63.6g, respectively) of the challenged control group, and the feed conversion ratios(FCR 3.28 and 2.96) of the 1st and the 3rd progeny groups were lower than that(FCR 5.60) of the groups challenged control group. The anticoccidial indices(70.5 and 93.9) of the groups challenged with the virulent oocysts of E tenella after immunization with the 1st and the 3rd progeny of the ${\gamma}-irradiated$ E tenella were significantly higher than that (ACI -81.9) of the challenged control group. It was thought that the immunogenicity of ${\gamma}-irradiated$ E tenella would be increase according to increase the number of generation passaged in chicken. That might be because of increasing the pathogenicity of ${\gamma}-irradiated$ E tenella according to increase the number of generation passaged in chicken.

• Korean Journal of Materials Research
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• v.9 no.3
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• pp.274-281
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• 1999

Usually sputtering and electroless plating methods were used for manufacturing metal-alloy thin film magnetic memory devices. Since electroless plating method has many merits in mass production and product variety com­pared to sputtering method, many researches about electroless plating have been performed in the United State of America and Japan. However, electroless plating method has not been studied frequently in Korea. In these respects the purpose of this research is manufacturing Co-Mn-P alloy thin film on the corning glass 2948 by electroless plating method using sodium hypophosphite as a reductant, and analyzing deposition rate, alloy composition, microstructure, and magnetic characteristics at various pH's and temperatures. For Co-P alloy thin film, the reductive deposition reaction 0$\alpha$urred only in basic condition, not in acidic condition. The deposition rate increased as the pH and temperature increased, and the optimum condition was found at the pH of 10 and the temperature of $80^{\circ}C$. Also magnetic charac­teristics was found to be most excellent at the pH of 9 and the temperature of $70^{\circ}C$, resulting in the coercive force of 8700e and the squareness of 0.78. At this condition, the contents of P was 2.54% and the thickness of the film was $0.216\mu\textrm{m}$. For crystal orientation, we could not observe fcc for $\beta$-Co. On the other hand,(1010), (0002), (1011) orientation of hcp for a-Co was observed. We could confirm the formation of longitudinal magnetization from dominant (1010) and (1011) orientation of Co-P alloy. For Co-Mn-P alloy deposition, coercive force was about 1000e more than that of Co P alloy, but squareness had no difference. For crystal orientation, (l01O) and (lOll) orientation of $\alpha$-Co was dominant as same as that of Co- P alloy. Likewise we could confirm the formation of longitudinal magnetization.

• Journal of KIISE:Computing Practices and Letters
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• v.15 no.9
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• pp.637-648
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• 2009

As the cost of disks decreases, PCs are soon expected to be equipped with a disk of 1TB or more. Assuming that a single person generates 1GB of data per month, 1TB is enough to store data for the entire lifetime of a person. This has lead to the growth of researches on lifelog management, which manages what people see and listen to in everyday life. Although many different lifelog management systems have been proposed, including those based on the relational data model, based on ontology, and based on file systems, they have all advantages and disadvantages: Those based on the relational data model provide good query processing performance but they do not support complex queries properly; Those based on ontology handle more complex queries but their performances are not satisfactory: Those based on file systems support only keyword queries. Moreover, these systems are lack of support for lifelog group management and do not provide a convenient user interface for modifying and adding tags (metadata) to lifelogs for effective lifelog search. To address these problems, we propose a lifelog management system based on the relational data model. The proposed system models lifelogs by using the relational data model and transforms queries on lifelogs into SQL statements, which results in good query processing performance. It also supports a simplified relationship query that finds a lifelog based on other lifelogs directly related to it, to overcome the disadvantage of not supporting complex queries properly. In addition, the proposed system supports for the management of lifelog groups by providing ways to create, edit, search, play, and share them. Finally, it is equipped with a tagging tool that helps the user to modify and add tags conveniently through the ion of various tags. This paper describes the design and implementation of the proposed system and its various applications.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.4
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• pp.14-25
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• 2016

This study aims to investigate what flowering plant Jeongjo loved, the attitudes and the reasons, and their implications. The study method was to investigate the contents and meaning in the historical records and to describe their interpretation. Jeongjo's life was consistent with very abstinent life style. His food, clothing and shelter were simple, and he did not show the interests in music, various arts and craft, women, and so on. He did not even show his interest in the flowers and plants of fairyland, beautiful flowers and plants. Jeongjo knew various kinds of flowers, and he was proficient in artistic expressions such as literature or painting with flower material. Due to this kind of attitude, there were few cases to demonstrate his taste on the specific flowering plant. The only one that Jeongjo revealed as his favorite flower was the pomegranate. However, the pomegranate was not the simple flowering plant as the subject of enjoying to Jeongjo. The pomegranate has the meaning of indicator plant to indicate the season of rice farming. Therefore, he made it to be the intermediary to indicate the farming season, which counted a few. Besides, Jeongjo who was threatened by the trials of assassination to him in his early throne period utilized 5,600 pomegranate flowerpots as the barricade of his shelter by arraying them with the type of stone piles in $B{\bar{a}}zh{\grave{e}}nt{\acute{u}}$(八陣圖). The use of Jeongjo's pomegranate flowerpots was not related to the visual utilization like ornament at all, which was very unique case. From multiple records, it was found that the pomegranate was the flower to be with Jeongjo in his period of reign. It is remarkable that the reason why Jeongjo kept pomegranate for a long time like this had the difference from enjoying practice on the ordinary flowering plant. This study has the limitation to be conducted depending on the Korean translated data. Further studies are required according to the translation performance of new historical records.

• The Journal of Art Theory & Practice
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• no.5
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• pp.217-229
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• 2007

Many historical research and facet about modern art in Indonesia which formulating background of contemporary Indonesian Art. Indonesian art critic Sanento Yuliman states that Modern art has been rapidly developing in Indonesia since the Indonesian Independence in 1945. Modern Art is a part of the super culture of the Indonesian metropolitan and is closely related to the contact between the Indonesian and Western Cultures. Its birth was part of the nationalism project, when the Indonesian people consists of various ethnics were determined to become a new nation, the Indonesian nation, and they wished for a new culture, and therefore, a new art. The period 1960s, which was the beginning of the creation and development of the painters and the painters associations, was the first stage of the development of modern art in Indonesia. The second stage showed the important role of the higher education institutes for art. These institutes have developed since the 1950s and in the 1970s they were the main education institutes for painters and other artists. The artists awareness of the medium, forms or the organization of shapes were encouraged more intensely and these encouraged the exploring and experimental attitudes. Meanwhile, the information about the world's modern art, particularly Western Art; was widely and rapidly spread. The 1960s and 1970s were marked by the development of various abstractions and abstract art and the great number of explorations in various new media, like the experiment with collage, assemblage, mixed media. The works of the Neo Art Movement-group in the second half of the 1970s and in the 1980s shows environmental art and installations, influenced by the elements of popular art, from the commercial world and mass media, as well as the involvement of art in the social and environmental affairs. The issues about the environment, frequently launched by the intellectuals in the period of economic development starting in the 1970s, echoed among the artists, and they were widened in the social, art and cultural circles. The Indonesian economic development following the important change in the 1970s has caused a change in the life of the middle and upper class society, as has the change in various aspects of a big city, particularly Jakarta. The new genre emerged in 1975 which indicates contemporary art in Indonesia, when a group of young artists organized a movement, which was widely known as the Indonesian New Art Movement. This movement criticized international style, universalism and the long standing debate on an east-west-dichotomy. As far as the actual practice of the arts was concerned the movement criticized the domination of the art of painting and saw this as a sign of stagnation in Indonesian art development. Based on this criticism 'the movement' introduced ready-mades and installations (Jim Supangkat). Takes almost two decades that the New Art Movement activists were establishing Indonesian Installation art genre as contemporary paradigm and influenced the 1980's gene ration like, FX Harsono, Dadang Christanto, Arahmaiani, Tisna Sanjaya, Diyanto, Andarmanik, entering the 1990's decade as "rebellion period" ; reject towards established aesthetic mainstream i.e. painting, sculpture, graphic art which are insufficient to express "new language" and artistic needs especially to mediate social politic and cultural situation. Installation Art which contains open possibilities of creation become a vehicle for aesthetic establishment rejection and social politics stagnant expression in 1990s. Installation art accommodates two major field; first, the rejection of aesthetic establishment has a consequences an artists quest for medium; deconstruction models and cross disciplines into multi and intermedia i.e. performance, music, video etc. Second aspect is artists' social politic intention for changes, both conclude as characteristics of Indonesian Installation Art and establishing the freedom of expression in contemporary Indonesian Art until today.

• The Journal of Art Theory & Practice
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• no.5
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• pp.43-80
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• 2007

PASKYULA was formed in September, 1923 through the union of artists involved in two art groups: Kim Ki-Jin, Kim Bok-Jin, Yeon Hak-Nyeon who had previously participated in the ToWolHoi, and Park Young-Hi, Lee Sang-Hwa, An Seok-Ju, former members of the BaeckJo. After its founding, the PASKYULA artists had been searching for the social function of art to reform the harsh reality of Minjung and the nation with criticism toward society as well as art world. Their art theory for MinJung could grow relatively ease in relation to changing social and political conditions in the early 1920s. In August, 1925, PASKYULA organized the Korea Artista Proletaria Federatio with the YeomGunSa, and laid the groundwork for Proletariat art movement which was regularized in the late 1920s. From PASKYULA up to the early state of KAPF, the theory of art advocated by Kim Bok-Jin and An Seok-Ju could be summarized as "art for MinJung". At that time, widely ranging discourses on MinJung, however, was spawned in art theory, because many intellectuals-including artists and writers-begun to pay more attention to MinJung, who emerged as one of the social forces after the Samil Independent Movement. Sometimes, MinJung was construed as the target of enlightenment from a negative viewpoint. On the other hand, several intellectuals under the influence of individualism asserted that the discussion itself on MinJung exerted an evil influence on art. In contrast of these cases, the PASKYULA artists including Kim Bok-Jin, An Seok-Ju perceived that MinJung had the potential to change society, and regarded them as "a creator of genuine civilization and art". In the PASKYULA artist's writings, the concept of MinJung was often overlapped with the meaning of the Choson nation suffering under colony. Although their concept of MinJung was transformed gradually into the proletariat as they were under the strong influence of socialism, it did not change that they grasped the realities of the whole Choson Peninsula through the proletarian consciousness. In the early state of PASKYULA, the methodology for social function of art was presented in a twofold manner. First of all, Kim Bok-Jin emphasized on the necessity of education to improve MinJung's way of life through art, and it was embodied by the organization of ToWol Art Workshop and public lecture. Also, he championed "the popularization of art", which was one of methods to distribute art to MinJung. According to the PASKYULA artists, art should be not art for art' sake but art for MinJung. That was why they advocated the convergence of art and MinJung's life. Especially Kim Bok-Jin affirmed a link between art and industry because he considered industry the field inextricably linked with MinJung's life. In this context, his idea could be read as the generalization and equalization within the framework of possession. Kim Bok-Jin thought that the social ramifications of capitalism deprived MinJung of their right to enjoy art, and emphasized the artist' social role to return the right to them. That is, the even distribution of art was mainly discussed than the contents of art in the half of 1920s. By 1925, the contents of art itself became an issue in the PASKYULA art theory, and it was based in realism. Kim Bok-Jin and An Seok-Ju insisted that art should be reflection of real life. At that time, realism acquired the representation of MinJung and the nation's realities not realistic style. In fact, the various Western art styles including Futurism, Constructivism, Cubism etc. were exploited in the PASKYULA's visual images. Western art, target of criticism on theory, was selectively adopted in the works which were produced by Kim Bok-Jin and An Seok-Ju. Kim Bok-Jin's MoonYeUnDong cover design was conceived of as the example in which Western art was adopted with it's ideology under the influence of MAVO, while Western art shown in An Seok-Ju's illustrations served as a decorative function in many cases. Especially, An Seok-Ju attempted the various styles of Western art simultaneously, which may be seen as representing that PASKYULA did not have a firm ideology for their style. Also, it can be read as showing his hasty zeal to overcome Western art rapidly. The wish to establish "art for MinJung" as soon as possible was accompanied with the will to jump over the all steps of Western art though it was superficial. This aspiration of PASKYULA was expressed through the mass media, which had the potential for communicating to MinJung. At this point, there was a significant disparity between PASKYULA and another art groups in the first half of 1920s. However, the PASKYULA's method on the basis of the mass media could not but have a certain limitation because of the medium's properties. Nevertheless, PASKYULA' attempts may be considered to be valuable in sense that they expended the boundaries of Korean modern art into the commercial art questioning the matter of the distribution for art.

• Journal of dental hygiene science
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• v.12 no.6
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• pp.675-681
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• 2012

Korean Ministry of Health and Welfare started to implement oral health hub center to provide oral health preventive program and dental treatment to public, especially dental vulnerable class in 2006. But, there is no applicant area to implement it regardless of national budget arrangement in 2012. This study is aimed to investigate the reason not to be implemented and requirements of implementation. 293 among 1,000 public dental hygienists in the area where have not implemented oral health hub center were surveyed in Korea from April to July in 2012 through convenience sampling. The questionnaire consisted of the reason why oral health hub center have not been implemented, the requirement of implementation, duty area and duty position et al. After removal of insufficient responses, 217 questionnaires were analyzed by t-test and ANOVA using SPSS 20.0. The reason why oral health hub center have not been implemented were deficiency of the priority list as compared with other health program (72.4%), space insufficiency (71.4%), regional budget insufficiency (70.5%), will insufficiency of oral health promotion (70.5%) and manpower insufficiency (62.7%). The first requirement of implementation were space expansion and regional budget expansion, followed by reduction of record-originated and administrative tasks, understanding on oral health program of higher ranking public officials in health center, manpower expansion, reduction of other tasks than oral health program and volunteer source expansion. Budget insufficiency and manpower insufficiency in Metropolis were ranked higher than other area (p<0.05). The group not to discuss oral health hub center graded each reason not to be implemented significantly higher than the other group (p<0.05). We suggested that to promote the importance of public oral health program be needed to public and higher ranking public officials to implement oral health hub center. In addition, we insisted that more dental manpower and budget be needed for reduction of oral health inequity in metropolis.

• (The)Study of the Eastern Classic
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• no.55
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• pp.115-145
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• 2014

In this paper, the transition of the status of Chinese novels and the change of the knowledge field in the modern times from the end of 19th century to the early 20th century, the transition period between the tradition and the modern times, have been investigated based on Liang Qichao's assertion of the Revolution of the Novel World. How the traditional novels have been evaluated, how modern novels enlightened a people and changed the political society, and what role novels acted in the change of the knowledge field are investigated. Especially I looked into the accumulations of knowledge and changes inside China which were overlooked in the previous researches which focused on the inflow of the Western culture and its impact on Chinese culture. Firstly the evaluation and classification of the traditional novels are considered. Because the transition of the status of novels and the classification method of the catalog of books are tightly coupled with the change of academic ideologies. Later I tried to understand novels as a way of thinking the modern times with a discussion on the changes of modern knowledge society and the consideration of Liang Qichao's Revolution of the Novel World in the two viewpoints, i.e. the relationship between novels and political society, and novels and the style of writing. Liang Qichao raised novels to the topmost position of literature. He pushed the traditional poetry off the top position and replaced it with popular novels. As the outside impact of Western culture made Chinese novels a tool for enlightening the ignorant people and the medium of propagating the knowledge, the status of novels was elevated to the highest level which novels had never reached in the past. With the limitation that the valuation was not based on the aesthetic appreciation of art but based on the value for politics and society, novel was a discourse of life and death to save the country and a container of knowledge to rebuild the people's mind and convert the crisis of the national ruin.

• Journal of Legislation Research
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• no.44
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• pp.33-62
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• 2013

In this paper, the consolidation of ICT basic legislation and ICT special legislation concerning "Ministry of Science, ICT and Future Planning" and "Korea Communications Commission" which came on the back of governmental reorganization in recent years is discussed in the theoretical and practical aspect. Development of "data communication technology" innovatively changed the method of livelihood of mankind, the emergence of network under global dimension provided financial social benefit and posed a challenge and a threat at the same time. Form digital revolution human kind can expect to receive many important blessings. Nevertheless, there are many advantages of development of technology by digital revolution, cyberspace like online media, internet etc. has realistically many problems that must be solved. To maximum positive aspects like the expansion of freedom of expression and creating plan of economy by the advance of transmission technology is needed. And to minimize side effects of informatization is required more. The First, Special Act on ICT has an adaptation in normative standardization to be fit in media convergence beyond convergence of broadcasting and telecommunications. Henceforth, there must be established a legal basis for the achievement of protection of economic evolution and freedom of speech in digital media, information, communication technology and content development. The second, the government action is to accomplish economic development and freedom of information in structural aspect of norm. Therefore minimizing normative problem by reorganization of organization remains clearly unresolved in politics. The third, Special Act on ICT must be basic law covering info-communications field, pay telecommunication and media contents field. The forth, from a technical point of view, net neutrality, conflict of interest for digital content and so on can be fixed easily. Special Act on ICT must not only pursuit of development of industry. Special Act on ICT and pursuit of enhancing quality of life of people and preparing program to promote democratization. From now on, we need to make powerful nation of information& communications technology and in information human rights protection field got to be one step ahead of others with reference to appear all the various aspects must be brought together in the discussion of legislation process of Special Act on ICT.