• Journal of the Korea institute for structural maintenance and inspection
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• v.16 no.2
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• pp.19-30
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• 2012

Due to the fact that the social environment is improved and the urban development is stabilized, the demand of new construction of apartment becomes slowdown. Accordingly, there are many researches to lengthen the service life of the existing apartment through the remodeling and its importance is continuously rising. However, reliable design specifications and guidelines for the design of remodeling with partial demolition are not provided yet in Korea. Specially, in the apartment remodeling, slab collapse accidents take major portion in all accidents that reported by Korean Government. It is very important to prevent intial crack of slab because intial crack could cause severe accident like collapse of all structure in a short period of time. The purpose of this study is to develop structural guidelines that could guarantee the structural safety and serviceability of slab structure and could be adopted in Korean remodeling with partial demolition. There are mainly two components to determine structural behavior of slab structure. One is the shape of slab structure and the other is load which is resisted by the slab structure. In this study, the weight per unit volume of concrete debris and concrete strength are estimated through the analysis of previous researches to recognize the relationship between the shape of slab and load that loaded on the slab. Accordingly, approximately 300 pieces of floor plan are collected and analyzed. The finite element analysis is conducted using these analyzed and estimated results. From the finite element analysis results, the limited stacking height of debris is suggested and the stacking method is also discussed. In addition, to find the relationship between movement of demolition equipment and structural behavior of slab, the static and dynamic loading tests are conducted. From the results of loading tests, the impact factor which will be considered in the remodeling design could be estimated.

• Korean Journal of Breeding Science
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• v.49 no.2
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• pp.80-86
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• 2017

'Jungmo2501' (Avena sativa L.), a winter oat for forage use, was developed by the breeding team at the National Institute of Crop Science, RDA in 2010. The following is the characteristics of 'Jungmo2501' that is characterized as light green leaf, yellow brown culm and whitish yellow grain. The heading date of 'Jungmo2501' was about 3 days earlier than that of check cultivar 'Samhan'(May 7 and May 10, respectively). Its plant height was 11 cm longer than 103 cm of the check, and the leaf blade ratio of aerial parts was 26 % higher than the check (11.8% and 9.4%, respectively). The cold tolerance, resistance to lodging and wet injury of 'Jungmo2501' were similar to those of the check. The average forage dry matter yield of 'Jungmo2501' harvested at milk-ripe stage was 5% higher than the check ($15.5ton\;ha^{-1}$ and $14.7ton\;ha^{-1}$, respectively). 'Jungmo2501' was higher than the check in terms of protein content (6.6% and 5.9%, respectively), neutral detergent fiber (58.5% and 57.6%, respectively), and acid detergent fiber (34.5% and 32.1%, respectively), while total digestible nutrients was lower than the check (61.6% and 63.6%, respectively), and TDN yield was $0.37ton\;ha^{-1}$ more than that of the check ($9.71ton\;ha^{-1}$ and $9.34ton\;ha^{-1}$, respectively). The silage grade of 'Jungmo2501' estimated by Flig score showed level II, meaning good quality. Fall sowing cropping of 'Jungmo2501' is recommended only for areas where average daily minimum mean temperatures in January are higher than $-6^{\circ}C$.

• (The) Research of the performance art and culture
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• no.37
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• pp.249-293
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• 2018

The Musical Theatre was a popular art genre that originated from the western musical tradition represented by the European opera. In the twentieth century, it bloomed around Broadway in the United States. It is also one of the commercial arts which is popularly loved by the public in the field of performing arts all over the world at present. Due to the nature of this genre, the development of dramas and the expression of characters use music, not words or gestures, as the main medium. And the style of music reacts sensitively to the taste of the public, not to a particular class. When Japan colonized Korea, the empire strongly believed modernization equaled westernization and Japan was the one who could awaken Korean. The Japanese colonial music education was intended to bring cooperation and obedience to Japan by forcibly injecting Japanese ideology and culture into Joseon people. The music education of colonialism with the textbook of the "Songs for public education(보통교육 창가집)" compiled by the Japanese government was a sparkstone for the conversion of the Korean musical identity to Japanese and Western music. In addition to the capitalistic economical mechanism for establishing a South Korean government friendly with the United States during the Cold War after liberation, and the rush of American Pop culture represented by 'the show stage in 8th US Arm' and 'movies' which are to be the influence of invisible 'new cultural imperialism', our traditional music was confined to the meaning of 'Korean music', meaning 'past music'. In Korea, after the liberation, the musical was introduced by the influx of American popular culture. In accordance with the cultural policy of Park Jeong-hee regime, which aimed to spread the 'healthy culture' through the modernization of traditional arts, 'The Yegreen(예그린악단)' was founded. However, the plan to create a contemporary performing art based on Korean national arts showed the possibility of success in 1966 with the success of , but soon after, they have been destined to fall into an institution that has lost their ability to operate on their own due to the suspension of the sponsorship of the regime. Due to the cultural imperialist strategy of the influence of Japanese imperialism's colonial music education and influx of American popular culture after liberation, in the early days of Korean musicals, our traditional aesthetic style brought about the situation of the 1960 's, which did not become an independent ethnic art through the exchange and expansion with Western music. This is the background of the western licensed musicals led by the Korean musical market in the 21st century as well as the main cause of musical creation based on western music.

• Korean Journal of Breeding Science
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• v.40 no.4
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• pp.474-478
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• 2008

A new covered barley variety, "Geungangbori" was developed from the cross between Milyang 55 which have lodging tolerance and easy brittleness and Suweon 260 with good quality by barley breeding team in the Yeongnam Agricultural Research Institute (YARI) in 2002. A promising line, YMB3855-3B-14-1-1-1, was selected in 1999. It was designated as the name of Milyang 110. It was prominent and had good result from regional adaptation yield trials (RAT) for three years from 2000 to 2002 and released as the name of "Geungangbori". Geungangbori is resistant to barley yellow mosaic virus and moderately resistant to powdery mildow. The average maturing date was same with Olbori on paddy field in regional adaptation yield trials for 2000-2002. Its culm length is 17 cm shorter than that of Olbori and the spike length is 4.4cm, it's longer than olbori. The 1,000 grain weight of Geungangbori was 34 g, same as Olbori, but the number of spikes per $m^2$ and test weight ware lower than those of Olbori. The yield potential of Geungangbori was 4.22 MT/ha on paddy in regional adaptation yield trials for 2000-2002. which was 7% higher than that of Olbori. The cooking quality of Geungangbori were similar to Olbori such as water absorption rate and expansion rate. But the crude protein content is lower than Olbori. This variety is suitable for double cropping system with rice in the southern part of the Korean Peninsula.

• Korean Journal of Breeding Science
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• v.40 no.4
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• pp.484-489
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• 2008

A new whole crop silage barley cultivar, "Youngyang", was developed from the cross between "Bunong and Milyang55 at the Yeongnam Agricultural Research Institute (YARI) in 2002. An elite line, YB3882-3B-17-1-3-1, was selected in 1999 and designated as "Milyang111". It showed good agronomic performance in the regional adaptation yield trials (RYT) from 2000 to 2002 and was released by the name of "Youngyang" with higher yield and better animal feed quality than that of Olbori. The average heading and maturing dates of Youngyang were May 2 and June 6, which were late by 2 & 1 days than those of Olbori, respectively, in Suwon. Youngyang had longer culm length, 83cm but it had lesser spikes per $m^2$ 637 than that of Olbori, respectively, in RYT from 2000 to 2002. The rate of leaf sheath/whole length (culm+leaf) and the rate of the grains/whole crop weight was similar to Olbori. It showed resistance to BaYMV at the regions of Naju, Jinju, Milyang andt Iksan. however, the response of Youngyang to other environmental stresses (tolerance of cold and wet) was similar to Olbori. The dried whole crop yield potential of Youngyang in the RYT was about 11.67 MT/ha in paddy fields which was about 18% higher than that of Olbori. The grain yield potential was 6.32 MT/ha in paddy fields which was about 5% higher than that of Olbori. Youngyang had lower rate of shattering, higher content of protein and NDF, lower ADF and TDN, and better quality of silage than those of Olbori.

• 기호학연구
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• no.57
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• pp.121-153
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• 2018

In terms of the story told, we see that Oh! Soojung(Virgin Stripped Bare by Her Bachelors) is a film of the ideololgy of masculinity. However, from the point of view of the manner of presenting story, Oh! Soojung is a film that aims to devalue this ideology. How will it be possible? This is the principle of the irony that the speaker, by saying P, wants to make Q listen that devalues and contradicts P. Our study is tempted to explain the process of interpreting the irony in the film. The ideology of the film occurs when the presupposed contents have become the subject. For example Cendrion who tells a story of a girl married to a prince presupposes that the girl, Cendrion, is obedient. The subject of this story is that the presupposition: /the girls who want to be happy must be obedient/, which represents the ideology of masculinity. Presupposed content thus imposes on the public a collective and conservative value, as its enunciator belongs to the collective voice. Since ironisation occurs when the utterance itself is annulled, one must also deny or cancel the story told of Oh! Soojng: /Jeahun who is rich and Soojung who is obedient and virgin have become lovers/. Since there is no semantic mark within the utterance, irony is a voice that comes from without; this is how we understand irony in a purely pragmatic way. The outer voices are two things: the way to build the story: question of focusing, ocularization and auricularization, and the way to present the story: question the order, the frequency or the plot. Our study is focused on the question of frequency at Oh! Soojung which has a repetition structure in which the memory of Jeahun and that of Soojung are represented one after the other. Since the memories of two characters are not identical, the repetition is accompanied by differences. The differences at first allow the public to build their own story from the di?g?se of the film and then make the audience fall into confusion where we can not be certain of what we see and know in the di?g?se of the film, and finally make their knowledge questionable. About repetition, so that it can have validity in terms of the informativeness of the utterance, it must deny the existence of the previous repetition. This is how repetition cancels itself and consequently the utterance. We see that the irony of Oh! Soojung occurs by repetition with differences that cancels the story of the film.

• Journal of Ginseng Culture
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• v.1
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• pp.78-92
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• 2019

Among the Southeast Asian countries, Vietnam had the most cultural exchange with Korea. Through Confusion and Chinese character, which were the common measure for two countries, Korea and Vietnam could communicate and share a sentiment with each other. Two countries showed an enormous interest in each other, and hence they could keep good relationship without official diplomatic relations. During the early 19th century, Korean Ginseng had gained tremendous popularity in Vietnam. Vietnamese believed the stamina of Minh Mang, who had 142 sons and daughters, originated from ginseng. Minh Mang bestowed ginseng on old courtiers for their contribution, which made them more loyal to the king. This tradition was inherited to the future generations, and soldiers who fought with Thai, Cambodia and France also received ginseng for their contribution. In other words, ginseng was the very important key for enforcement of patriotism. Due to the tradition, Korean ginseng has been considered as the premium ginseng in Vietnam. It is presumed that ginseng flew into Vietnam through 4 routes; 1) as an imperial gift from Chinese emperor, 2) by the Vietnamese ambassadors who went to Beijing for a tribute, 3) through private trade and 4) from Ryukyu or Japan, which were the hub of international trade. From 15th to 18th century, ambassadors from Chosun and Vietnam actively interacted in Beijing. Through their interchange, Vietnamese royal family could learn about the value of ginseng. The fact that there were many Shilhak scholars among the ambassadors from Joseon, such as Seo Geojeong and Seo Hosu who had profound knowledge of ginseng proves the theory. It is also possible that reputation of ginseng was already established in Vietnam during Silla period. Ko Byung, an bureaucrat from Tang Dynasty who ruled Vietnam for 10 years in middle 9th century and a friend of Choi Chiwon, might have delivered the knowledge of ginseng to the upper class in Vietnam. This hypothesis, however, should be proven by literatures. Hence, further research about the trace of Korean ginseng in Vietnamese history and literary works still remains to be done.

• The Journal of Korean Philosophical History
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• no.31
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• pp.241-262
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• 2011

In this paper we show how the perception of heavenly principle(天理) and definition of individual desires(私慾) in the five commentaries on Daodejing(道德經) was changed over time. The five commentaries on Daodejing(道德經) composed during $Chos{\breve{o}}n$ are 'Sooneon(醇言) by Lee, Yul-gock (李珥,1536~1584), 'SinJoo-DoDuckKyung (新註道德經) - or New Commentary on Daodejing(道德經) - by Park, Se-dang(朴世堂,1629~1703), 'Dodukjigi(道德指歸)' by Suh, Myoung-euing(徐命膺,1716~1787), 'Chowondamro (椒園談老)' by Lee, Chung-ik(李忠翊,1744~1816), and 'Jungro(訂老)' by Hong, Suk-joo (洪奭周,1774~1842). The course of history in understanding the book, "Daodejing(道德經)," demonstrated that by the late of $Chos{\breve{o}}n$ Dynasty in the 18th century, the notion of 'the moral law for the community' has changed. Neither Suh, Myoung-euing nor Lee, Chung-ik emphasized 'the necessity for the truth of the heavens.'Instead, they focused more on the 'individuals' who followed the moral law than the moral law itself. They did not see the individual desire as the object that had to be discarded. Within the context of this framework, the individual's role had changed from the person who had to be obedient to the law to the subject who judged the moral law all by him/herself. This process of breaking up 'the goodness of the community' led the $Chos{\breve{o}}n$ Dynasty of the 18th century in the transition period to the modern era. In other words, it was the time when the introspection of the 'moral law' prevailed in the $Chos{\breve{o}}n$ Dynasty occurred naturally and spontaneously among the Confucian scholars, which implied the reconceptualization of the 'self-awareness' or 'the point of view on the individual's self-desire' was occurred in the context of academic development during the late $Chos{\breve{o}}n$ Dynasty.

• (The)Study of the Eastern Classic
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• no.49
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• pp.161-185
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• 2012

This thesis reorganized the life of Mrs. Yun who was a noble woman in the middle of the Joseon period with main material of Seopo, Kim, Man Joong(1637-1692)'s "Seonbijungkyungbuinhaengjang(先?貞敬夫人行狀)" and considered yeosa(女師)'s image of noble woman embodied by her son. Although women who were remarkable in premodern period nurtured their son well and they became excellent, it's easy that the life of their mother can be hidden by sons' shadow. Luckily, materials of Mrs. Yun were kept by her descendants, so people could analogize how she could endure difficulties and how she educate her children. In a word, the life of Mrs. Yun can be yeosa(女師)'s life. She was born as a only daughter of the best ancestry in the period and grown to be a considerable woman with strong will and discipline under the strict training of her grandmother, Junghye Ongju. And then, she married Gwangsan Kimmun, the best literature house of Joseon period, but her husband, Kim, Ik Kyum was died by unexampled difficulty, Byungjahoran. During the tribulation, Mrs. Yun was in charge of not only parents supporting but also two sons' education excellently. She educated not only her children but also grandchildren and nephews around her, so she had extraordinary passion and sincerity for the education. As the result, she enjoyed a glory that two sons and grandchildren became on daejehak. Mrs. Yun was living with thrift and saving continuously regardless of her circumstances. When her granddaughter became inkyungwanghoo who is a wife of sookjong, she didn't kick her common habit and trained strictly the mind of family members who could be easily in disorder. In spite of the richness, he obeyed manners and showed thrift and saving continuously and thoroughly. When there was a crisis in her family, the first son, Kim, Man Ki was died and the second son, Kim, Man Joong and grandson went into exile during the continuous political upheaval. But, she supported her house, obeyed the rules and promised the future. At that time, she continuously encouraged grandchildren and the eldest grandsons of the head family to study without any stop for themselves in spite of the difficulties. Mrs. Yun pursued truly valuable life. She considered that the life which didn't get praised by other people wasn't valid although he or she lived a pleasant life in luck and richness. Mrs. Yun was a true teacher yeosa (女師) who placed a true value on the life enduring hardship and poorness without fear and becoming an example of other people.

• Journal of Ginseng Culture
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• v.3
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• pp.90-118
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• 2021

Gaeseong fostered the conditions necessary for modern capitalism, as huge capital was accumulated through the cultivation and trade of ginseng, which were activities that flourished in the 18th century. During the Japanese colonial era, ginseng merchants were not simply limited to acquiring landowner capital from ginseng trade but actively converted such resource to productive and financial capital, thereby becoming modern entrepreneurs. Ginseng merchants led the joint management and investment of Gaeseong Electric Co., Ltd., Daehan Cheonil Bank, Gaeseong Brewing Co., Ltd., and Songgo Textile Company, founded in the early 20th century. They pursued corporate profits and, as leading individuals of society, spearheaded regional development by supporting educational and cultural projects in Gaeseong. These projects included the establishment of the Gaeseong Commercial School, the publication of Goryeo Times, and the operation of the Gaeseong Jwa Theater. Although liberal economics prioritized shareholder interest, the 21st century witnessed an emphasis on social responsibility among stakeholders asthe major purpose of enterprises. A trend that emerged was ESG (environment, social, governance) management, in which non-financial factors are valued more highly than financial performance. A successful business, which was denoted only by high profits in the past, is now defined by whether a company fulfills its social responsibility. In the early 20th century, the corporate activities of ginseng merchants in Gaeseong reflected entrepreneurship and stakeholder-centered ESG management, which later emerged as essential elements of modern business management. The modern management philosophy ahead of its times stemmed from the regionality of Gaeseong. The political discrimination against Gaeseong residents in the Joseon Dynasty precluded them from becoming government officers, and under a strict social hierarchy, yangban ("noblemen"), the intellectuals of the Joseon Dynasty, were forced to serve as merchants. Son Bong-sang and Kong Seong-hak, aside from being representative ginseng merchants, were both Confucian scholars and writers. The second and third generations of ginseng merchant families who had received higher education abroad returned to Gaeseong to carry on with their family businesses, then established modern companies with capital accrued from the ginseng industry. An analysis of the commercial activities of ginseng merchants in the early 20th century confirmed that these individuals were pioneering entrepreneurs who adopted the ESG management philosophy. In ginseng merchants, one sees a dimension of capitalism with a human face, as with ginseng thatsaves human life.