• (The) Korean Journal of Educational Psychology
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• v.31 no.4
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• pp.767-794
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• 2017

Creativity is a social byproduct formed in a specific sociocultural context. Although creativity differs according to the level of culture ranging from supranational, national, professional to organizational levels, research studies documented in literature have mainly dealt with creativity in the (super)national level. For example, differences in personal creativity in the East and the West led by collectivism and individualism, respectively have been dominating in the studies about cultural differences in creativity. Consequently, the domain specificity of creativity and the effects of a more micro level of culture, such as domains, occupations, and organizations, on creative outcomes have been dismissed. Understanding the characteristics of domains, and sociocultural and environmental factors leading to creative products is worth investigating considering that the conception of creativity today highly relies on the nature of domains valued in a certain sociocultural environment. This study reviewed a wide range of literature regarding creativity and sociocultural and environmental factors in order to explore how culture and/or cultural factors inspired creative thinking and generating ideas for creative performance and products. Cultural factors were identified either as a value or a practice (custom) and examined on the supernational, national, professional, and organizational levels. For supernational and national cultures, issues on individualism, collectivism, artistic social atmosphere, and multi-cultural experiences were discussed, while the professional and organizational cultures delved topics on the domain of architecture in which both originality and functionality are greatly valued for creativity. The authors concluded that the impact of culture on creative thinking and idea generation varied according to the levels of culture although issues on multifactorial aspects of culture, differences between personal and collective creativity, and the identification of culture either as a value or a practice (custom) should be discussed further for future studies.

• Journal of Climate Change Research
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• v.4 no.2
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• pp.77-93
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• 2013

Global warming accelerates both carbon (C) input through increased forest productivity and heterotrophic C emission in forest soils, and a future trend in soil C dynamics is uncertain. In this study, the Korean forest soil carbon model (KFSC model) was applied to 1,467,458 ha of Pinus densiflora forests in Korea to predict future C dynamics under RCP 8.5 climate change scenario (RCP scenario). Korea was divided into 16 administrative regions, and P. densiflora forests in each region were classified into six classes by their stand ages : 1 to 10 (I), 11 to 20 (II), 21 to 30 (III), 31 to 40 (IV), 41 to 50 (V), and 51 to 80-year-old (VI+). The forest of each stand age class in a region was treated as a simulation unit, then future net primary production (NPP), soil respiration (SR) and forest soil C stock of each simulation unit were predicted from the 2012 to 2100 under RCP scenario and constant temperature scenario (CT scenario). As a result, NPP decreased in the initial stage of simulation then increased while SR increased in the initial stage of simulation then decreased in both scenarios. The mean NPP and SR under RCP scenario was 20.2% and 20.0% higher than that under CT scenario, respectively. When the initial age class was I, IV, V or VI+, predicted soil C stock under CT scenario was higher than that under RCP scenario, however, the countertrend was observed when the initial age class was II or III. Also, forests having a lower site index showed a lower soil C stock. It suggested that the impact of temperature on NPP was higher when the forests grow faster. Soil C stock under RCP scenario decreased at the end of simulation, and it might be derived from exponentially increased SR under the higher temperature condition. Thus, the difference in soil C stock under two scenarios will be much larger in the further future.

• Journal of Climate Change Research
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• v.5 no.2
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• pp.127-137
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• 2014

The main purpose of this study is to estimate tradial growth response and to predict the potential spatial distribution of major tree species(Pinus densiflora, Quercus mongolica, Quercus spp., Castanea crenata and Larix kaempferi) in South Korea, considering climate and topographic factors. To estimate radial growth response, $5^{th}$ National Forest Inventory data, Topographic Wetness Index (TWI) and climatic data such as temperature and precipitation were used. Also, to predict the potential spatial distribution of major tree species, RCP 8.5 Scenario was applied. By our analysis, it was found that the rising temperature would have negative impacts on radial growth of Pinus densiflora, Castanea crenata and Larix kaempferi, and positive impacts on that of Quercus mongolica, Quercus spp.. Incremental precipitation would have positive effects on radial growth of Pinus densiflora and Quercus mongolica. When radial growth response considered by RCP 8.5 scenario, it was found that the radial growth of Pinus densiflora, Castanea crenata and Larix kaempferi would be more vulnerable than that of Quercus mongolica and Quercus spp. to temperature. According to the climate change scenario, Quercus spp. including Quercus mongolica would be expected to have greater abundance than its present status in South Korea. The result of this study would be helpful for understanding the impact of climatic factors on tree growth and for predicting the distribution of major tree species by climate change in South Korea.

• Food Engineering Progress
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• v.21 no.2
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• pp.143-149
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• 2017

This study was carried out to investigate antimicrobial activity and characteristics of Asparagus cochinchinenesis which was steamed and fermented with lactic acid bacteria. A. cochinchinensis was prepared to steaming process which was washed and freeze dried. A. cochinchinensis was steamed at $95^{\circ}C$ for 12 h and dried by hot air at $50^{\circ}C$ for 24 h. After steaming process, A. cochinchinensis was fermented with lactic acid bacteria (Leuconostoc mesenteroides 4395, Lactobacillus sakei 383 and Lactobacillus plantarum KCCM 11322). Ethyl acetate extracts of fermented A. cochinchinensis had antimicrobial activities for the respiratory disease bacteria (Staphylococcus aureus, Staphylococcus epidermidis, Pseudomonas aeruginosa and Escherichia coli). A. cochinchinensis had highest antimicrobial activity for the P. aeruginosa which fermented with L. mesenteroides 4395. The minimum inhibition concentration (MIC) of A. cochinchinensis fermented with L. mesenteroides 4395 was 10 mg/mL for S. aureus, S. epidermidis, E. coli and 5 mg/mL for P. aeruginosa. The MIC of A. cochinchinensis fermented with L. sakei 383 and A. cochinchinensis fermented with L. plantarum KCCM 11322 were the same. Total sugar was decreased from $863.33{\pm}17.47mg/mL$ to $722.67{\pm}5.51mg/mL$ during the steaming process. But reducing sugar was increased from $99.36{\pm}1.32mg/mL$ to $109.29{\pm}2.71mg/mL$ during the steaming process. Total sugar was decreased to 301.50-361.42 mg/mL and reducing sugar was decreased to 27.39-62.20 mg/mL during the fermentation process.

• (The) Research of the performance art and culture
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• no.36
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• pp.327-363
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• 2018

This paper tracks the present state of the Gugak educational programs run by Gugak-specialized museums including Museum of Gugak not only to set a directionality of Museum of Gugak to step forward for their main purposes, but also to find measures to invigorate its Gugak educational programs. There are 826 museums registered in 2016 nationwide, and ten of them are Gugak-specialized museums including Museum of Gugak. An analysis of the educational programs by Museum of Gugak presents high achievements in concentrativeness, participation and satisfaction levels. However, several issues such as difficulty level adjustment, education period arrangement, contents development, setting of a precise aim of education, and overcoming of regional limitations are to be solved in the future. Considering these special circumstances, the study suggests setting a directionality of Gugak education by following four conditions: Firtly, the Gugak education programs by Museum of Gugak should be user-oriented. Secondly, it is necessary to provide customized learning programs to suit users of various ages and generations. Thirdly, a solid education is required to enhance creativity deviating from uniform, unilateral, fragmentary education focused on materials and relics of museums as the users' experiences and learning levels vary. Fourthly, integrated education with relevant study in common use is required as the specialized environments of the museum could cause users psychological resistance and lessen their willingness to approach. Focusing on these four conditions several invigoration measures for the Gugak education programs are discussed: Firstly, a step-by-step approach, not a radical shift, is required in order to turn existing programs into the user-oriented. Secondly, customized learning programs should be planned in consideration of life cycle of the users. Thirdly, it is necessary to establish virtuous circulation reflecting activity-based contents as well as to provide the users experiences through five senses for solid Gugak education, in which various elements such as experiencing, learning, playing, viewing are reflected manifoldly. Fourthly, integrated education can be implemented when the features of Gugak educational programs are internally structured and the external environment matures.

• Cross-Cultural Studies
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• v.52
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• pp.133-164
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• 2018

This purpose of this paper is to focus on anti-Japanese literature and pro-Japanese literature skills among Korean literary history written in Japan, and to observe the differences between Korean and Japanese perception surrounding anti-Japanese and pro-Japanese literature. Analyzed texts are "Taste Korean Literature" by Saegusa Dosikatsu and "The Footsteps of Modern Literature of Chosun" by Shirakawa Yutaka, the earnest modern Korean literary historians written from the perspective of Japanese writers, and though there's no overall written history of literature, they were seen through with the perspective of Omura Masuo, at the forefront of Japanese researchers in modern and contemporary Korean literature. The main results of the review are as follow: First, In Korean literary history by Japan, the frame "pro-Japanese literature" is clearly embedded. It is clearly distinctive from the aspect of China or North Korea, and though it follows the narration system of South Korean literature, it also forms the breaking (turning) point of anti-Japanese and pro-Japanese literature relative to anti-Japanese and pro-Japanese literature. Second, even if it follows the narration system of South Korean literature, that question was constantly raised on existing Korean academic evaluation of anti-Japanese and pro-Japanese literature, and different interpretations of reading were practiced. For example, Korean academic circles highly regard literature of writers such as Kim, Jong han or Lee, Seok hoon, while Korean academics do not place much importance on Lee, Gwang Soo's pro-Japanese elements that are important. The third point is that generous marks are credited to writers with outstanding Japanese or to Japanese creative writing. As a result, they dissolve internal logic in different pro-Japanese collaborators such as Chang, Hyuk Ju, Kim, Sa Ryang, Lee, Seok hoon, or Kim, Yong Jae by melting the same "Japanese literature" in a cage. The last point is reading different inner thoughts of Kim, Jong-han or Lee, Seok-hoon unlike outspoken pro-Japanese collaborators such as Lee, Gwang soo, Jang, Hyuk Joo or Kim, Yong je. These points require more in-depth analysis, and will be continued in follow-up tasks.

• Cross-Cultural Studies
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• v.44
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• pp.211-237
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• 2016

This paper seeks to explore the new relationship between music and poetry established in the beginning of the Modern Era. This was a period when reading silently was the dominant culture rather than reading aloud and orality was limited due to the emergence of literacy and print culture. A poet sensitive to the characteristics of the period, $Mallarm{\acute{e}}$ created his own concept of music and new creative principles of poetry from it. We analyze his "Divigation" and letters, in particular, the "Crisis of vers", "Music and Literature", "Mystery in the letters", and "About the book." Firstly, $Mallarm{\acute{e}}$ connects music with the mystery and the sacred: the mystery surrounds the music and the music is oriented with the sacred. The sanctity is that of the human race and has existed within humans since the beginning. Transposing the characteristics of this music to the poetry is his first creative principle of poetry. However, $Mallarm{\acute{e}}$ called music a totality of relationships that exist between objects without reducing the dimension to only the instruments or the sound. His definition is abstract, regarding music as a complete rhythm, the atmosphere and the air. Secondly, we have the question of how to realize music in a poem. As the music is surrounded by the mystery, $Mallarm{\acute{e}}$ can transpose the sacred to a poem in mysterious ways. This leads to his second principle of poetry: make a poem as a structure. In other words, 'musically', based on the disappearance of real objects and the initiative of the poet, he created a structure with only the words. We can create an acoustic structure but $Mallarm{\acute{e}}$ created a visible structure to overcome the incompleteness of the sound of a word in the diffusion of print culture. In this manner, the use of silence as much as sound and the use of visual as much as aural components were introduced in poetry as important motifs and the essentials of creation. This new relationship between poetry and music and the creative principles drawn from it appear to be the areas to which attention should be focused in the research of poetry.

• Cross-Cultural Studies
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• v.46
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• pp.327-353
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• 2017

This study analyzed how an aspect of translation can be shown on the 'Kureru type(くれる類)' verbs in "Kokoro", which was a Japanese modern novel when it was reproduced by translators. It focused on 'the use in accordance with a subject of expression and the other person' and 'the object of movement'. 'The use in accordance with a subject of expression and the other person' could be summarized as follows: The 'Kureru type' verbs were not translated only in accordance with the use of vocabulary in a dictionary. 'Kudasaru' was used in many examples of letter writing when 'the giver' was younger and it was translated to a polite form in Korean. 'Kureru' had a characteristic when 'the giver' was older in Korean translation. The act of parents was translated to an honorific form if parents were 'givers' regardless of whether a listener was an internal character or an external character in parent-child relationships. The degree of politeness was different in English translation when the 'Kureru type' verbs were used for asking a favor request command. 'Please' was used more for 'Kudasaru' than 'Kureru'. An aspect of translation in accordance with 'the object of movement' could be summarized as follows: The 'Kureru type' verbs were used as main verbs. 'Kureru' and 'Kudasaru' were translated to 'Juda' 'Jusida' in Korean translation, but they were translated to various vocabulary words in accordance with the characteristic of 'the object of movement' and were translated to imply a specific act, the process of possession and the result of possession in English translation. The 'Kureru type' verbs were also used as auxiliary verbs. The translated vocabulary words for Korean translation and English translation were different in accordance with whether the movement of things other than the movement of act was included or not. Examples were translated predominantly to expressions of profit such as '-Jada' '-Dalla' '-Jusida' when there was a movement of act as well as specific things in Korean translation. Also, some examples were translated to expressions of profit when there was the movement of act with an abstract matter and there was only the act of the object of movement, but many examples were translated to the act of first verbs. Examples were translated predominantly to the act of first verbs when there was the movement which included specific things and abstract matters or there was only the movement of act in English translation. Expressions of asking a favor request such as 'Kureru' and 'Kudasaru' were translated to '-Dalla' '-Juseyo' in Korean translation, but they were translated to expressions which specify an act while focusing on the structure of sentences or the function of language, such as 'must', 'ask', 'wish', 'would', and 'would like to' 'please' in English translation.

• Korean journal of applied entomology
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• v.57 no.4
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• pp.339-345
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• 2018

The sugar beet cyst nematode (SBCN), Heterodera schachtii first detected in Taebaek, Gangwon-do in 2011, is one of the major plant parasitic nematodes that cause economic damage to the Chinese cabbage in highland regions. In addition, the distribution of clover cyst nematode (CCN), H. trifolii was confirmed in the highland Chinese cabbage cultivated regions in 2017. In order to investigate the spread of cyst nematodes, this study has been conducted since 2013 in the highland Chinese cabbage cultivation area. In addition, in 2017, the Real-Time PCR technique with the species-specific primer was used to investigate those two cyst nematodes and the soybean cyst nematode (SCN), H. glycines which is known for its distribution in Korea, focusing on the main production regions of highland Chinese cabbage cultivation. The number of infected fields in the Chinese cabbage plantation in highland increased every year to confirm distribution in Taebaek, Samcheok, Jeongseon and Gangneung in 2017, and the cumulative number of infection fields reached 245 by 2017. Of the 41 possible cyst nematode samples for PCR analysis, 61% were CCN, only 9.8% of the SBCN and 29.3% of the SCN were identified. Therefore, some of the previously known SBCN or CCN discoveries are likely to have been infected with SCN. It is believed that the CCN needs to be controlled in the future as CCN have been found to be dominant species in the highland Chinese cabbage plantation regions.

• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.152-171
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• 2009

The Dancheong(丹靑) of the main building of Mihwangsa Buddhist Temple(美黃寺) in Haenam(海南) is the leading work of the Jeolla Dancheong style, which was created in the 18th century and has been passed down to the early modern days, and boasts its excellence and originality. On the outside, one can only see the traces of the Dancheong due to the colors that fell off and deteriorated severely. On the inside, however, the general Dancheong pattern is accompanied by the painting of 1,000 Buddhas(千佛圖), which is hardly found in other Buddhist temples, and the Arahan painting, which is truly magnificent in technique and can pass as an independent painting. The Dancheong also has unique methodological characteristics that can't be found in other Dancheong works such as the painting and attaching technique. The Dancheong inside is estimated to have been created in 1754 considering the records of "Dalmasan Mihwangsasa Daebeopdang Jungsusangryangmun(達摩山美黃寺大法堂重修上樑文)", the calligraphical writings of "Mudeungsanindanhwakya(無等山人丹?也)"and "Geonryungshipgu(乾隆十九)" left in the Jungryang, and the style characteristics reflected in the Dancheong patterns and the painting of 1,000 Buddhas. The fact that there are no traces of re-Dancheong also supports the estimation that the Dancheong was created in the absolute age of 1754. The absolute age will be the reference of deciding the chronological years of Dancheong patterns and be helpful in examining the characteristics and changes by the periods. There were certain style characteristics in Dancheong by the periods and regions. The Dancheong of Jeolla region also had its own style, which includes the tendency of finishing with two- or three-fold green belts without giving meokdanggi to the meoricho and the huge jar decoration of huigol. Treating the baetbadak of all materials, whether it's Geumdancheong or morodancheong, with lines of certain thickness and colors is another style of Jeolla Dancheong from the 18th to the 20th century. The Dancheong of the Geukrakbojeon(極樂寶殿) of Cheoneunsa Buddhist Temple and Daewoongbojeon(大雄寶殿) of Naesosa Buddhist Temple in Jeolla is especially noteworthy in that it bears similar patterns and techniques to that of the main building of Mihwangsa Buddhist Temple in addition to the characteristics mentioned above. The Dancheong of Mihwangsa Buddhist Temple must have exerted so great influences on that of the two temples that it's called "the style of Mihwangsa Buddhist Temple."When adopting a broader point of view, it can be classified as one of the Dancheong styles of Jeolla. The common icons and techniques found in the Dancheong of Mihwangsa, Cheoneunsa, and Naesosa Buddhist Temple provide some clues about the influential relationships among painters of the days. They may have been created by the painters of the same school or the painters affected by those who created the Dancheong of Mihwangsa Buddhist Temple.