• Journal of Environmental Impact Assessment
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• v.31 no.4
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• pp.226-240
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• 2022

Local governments over a certain size in Republic of Korea may conduct Environmental Impact Assessment (EIA) considering regional characteristics if it is necessary, in accordance with Article 42 of the 「Environmental Impact Assessment Act」. However, it was investigated that the number of local government EIA operation in many local governments was less than initial expectations. In order to improve it, the status of ordinances and consultation guidelines which are different for each local government need to be compared, and the institutional issues forthe relevant local governments must be found considering regional characteristics. Furthermore, detailed regulation and guidance on the local government EIA procedure should be included in the consultation guidelines and related information need to be provided. In this study, focusing on the case of Incheon Metropolitan City, the status of local government EIA ordinances in metropolitan cities and provinces with a similar condition was investigated, and the types and scope of target projects were compared and analyzed. In addition, consultation guidelines forIncheon Metropolitan City were written, and improvements on the procedure flow and overall schedule designation derived from the process were presented. In the case of Incheon Metropolitan City, there were no detailed information officially announced regarding the regulations of the local government EIA ordinance and follow-up management, so the administrative system of the local government needed to be reinforced in this field. Meanwhile, considering the status of local environment and geography, some target project types were deemed necessary to be added: port construction projects, water resource development projects, railroad construction projects, and military facilities installation projects. The results of this study will provide useful information to local governments which want to improve their operation effectiveness by reorganizing the local government EIA system and preparing specific guidelines.

• Journal of Popular Narrative
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• v.26 no.3
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• pp.189-219
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• 2020

This study is an analysis of Handol Heung-Gun Lee's Tarae, which is a coinage combining the Korean words for "playing an instrument" and "song", in terms of narrative and aesthetics. The components for analysis are the phenomena and nature of binary oppositions between nature and human beings, between alienation and interest, between division and unification, and between diaspora and people of the national community. Tarae in the period from the late 1970s to the early 1990s described the experience of pain and loss from non-resistance and disobedience in protest against social problems that emerged during the era of miliary dictatorship, such as industrialization, urbanization, reckless development, Westernization, university-oriented education, the gap between rich and poor, human alienation, and the conflicts arising from the division of the nation. After Handol overcame the lack of creative motivation with self-reflection and effort, Tarae took the form of a diaspora epic meta-narratives integrating the "sound of nature and his true nature" and "the awareness of diaspora and the spirit of the Korean people". The epics of the homeland, the national soil and the people, which began with "Teo", became more intense in terms of a sense of diaspora as they shifted their focus from an origin to a path with "Hanmoejulghi" as the turning point. Handol seeks inspiration in the source of narrative rather than in music. His Tarae focuses on "adding rhythm for lyrics". For this reason, the semiotic features of Tarae have a limitation in that its extrinsic phonology is simple even if its intrinsic meaning (i.e., emotion of sadness) is profound and subtle. In order to elicit sympathy from the audience and impress them, it is necessary to strike a balance between the implicit (semantic) part and the explicit (phonological) part. To share the emotion of sadness with more people, it is necessary to strengthen phonological elements. Sympathy for sadness and deep impression on the audience are more often induced by the mood of similar sentiments than by the stories of the same experience. The aesthetics of sadness in Tarae began with the narratives of past experience which were expressed in the contexts of loss, loneliness, and poverty that Handol had experienced since childhood. However, the aesthetics of sadness, deepened over the period of a long hiatus in Handol's career as a composer, formed the narratives of ultimate salvation, embodying even the diaspora experience of others (e.g., displaced people, overseas adoptees, ethnic Koreans in Russia, victims of Japanese military sexual slavery, etc.). This gave Tarae the potential to go beyond the limits of the ethnic group of Korea. Tarae, as a "dispersed sound", can benefit from the appeal of deep sadness at the point of contact with other forms of world music. It may form a global diaspora discourse because Tarae is oriented towards interculturalism rather than anti-multiculturalism. The future challenge and goal of Handol's Tarae would be to continue to find areas of sympathy and broaden the horizon of awareness as diaspora music.

• Journal of Popular Narrative
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• v.27 no.1
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• pp.265-299
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• 2021

The purpose of this research paper is to facilitate the understanding of the synesthetic aesthetics in the film The Age of Innocence through the intertextuality among the narrative, paintings, and music in the film. In this paper, a two-dimensional intertextual analysis of the paintings in relation to the narrative is conducted on the paintings owned by Old New York, the paintings owned by Ellen, the portraits of unknown artists on the street outside of Parker House, and Rubens' painting at the Louvre. A three-dimensional intertextual analysis of performances in relation to the narrative is conducted on the stages and the box seats at the New York Academy of Music, in which Charles F. Gounod's Faust is performed, and the Wallack's Theatre, in which Dion Boucicault's The Shaughraun is performed. An intertextual analysis of music in relation to the narrative is also conducted on the diegetic and non-diegetic classical music of the film, including Beethoven's Piano Sonata No. 8 and Mendelssohn's String Quintet No. 2, as well as Elmer Bernstein's non-diegetic music of the film. The constituent event of The Age of Innocence represents the passion trapped in the reflection of love and desire that are not lasting, and the supplementary event embodies the narrow viewpoint and the inversion of values caused by the patriarchal authority of Old New York. The characters in the film live a double life, presenting an unaffected surface and concealing the problems behind it. The characters restrain their emotions at both the climax and the ending. The most powerful aspect of the film is the type and nature of oppressive life, which are more delicately described with the help of paintings and music, as there is a limit to describing them only by acting. In intertextual terms, paintings and music in The Age of Innocence continuously emphasize "feeling of emotions that cannot be expressed in language." With a synesthetic image, as if each part were imprinted on the previous part, the continuity "responds to continuous camera movements and montage effects." In The Age of Innocence, erotic dynamism brings dramatic excitement to the highest level, switching between the satisfaction of revealing desire and the disappointment of hiding desire due to its taboo status. This is possible because paintings and music related to the narrative have made aesthetic achievements that overcome the limitations of two-dimensional planes and limited frames. The significance of this study lies in that, since the identification in The Age of Innocence is based on the establishment of a synesthetic aesthetic through audio-visual representation of the film narrative, it helps us to rediscover the possibility of cinematic aesthetics.

• Korean Journal of Poultry Science
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• v.48 no.4
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• pp.193-206
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• 2021

This study aimed to identify the growth performance of Korean indigenous chicken pure-line by sex and twelve strains conserved in Poultry Research Institute, National Institute of Animal Science, Rural Development Administration. The effect of sex and strain on body weight was significantly different in every period, with males being heavier in all periods than females. In the case of biweekly weight gain, the tendency to increase rapidly from birth to six weeks old, and to decrease in the period from twelve to fourteen weeks old was common across all sex and strains. Depending on sex and strain, there were significant differences in age and the number of peaks. Regardless of sex and strain, the determination coefficient and adjusted determination coefficient showed high goodness of fit (99.1~99.9%) to growth functions. However, for each model, the goodness-of-fit had variations by sex and strains. von Betalanffy function had the best fit to growth curves in all the female strains except strain D. On the other hand, Gompertz function had the best fit for all the male strains except strain C. Logistic function showed the lowest goodness-of-fit in all sex and strains. Mature weights were in the order of von bertalanffy, Gompertz, and Logistic models, while growth ratio and maturing rate followed the order of logistic, gompertz, and von bertalanffy functions. This information could be useful for Korean indigenous chicken management and designing crossbreeding tests and breeding programs.

• Korean Journal of Agricultural and Forest Meteorology
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• v.24 no.4
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• pp.285-294
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• 2022

In order to accurately calculate greenhouse gas emissions in the agricultural field, Korea has been developing national-specific emission factors through direct measurement of gas fluxes using the closed-chamber method. In the rice paddy, only national-specific emission factors for methane (CH₄) have been developed. It is thus necessary to develop those for nitrous oxide (N₂O) affected by the application of nitrogen fertilizer. However, since the concentration of N₂O emission from rice cultivation is very low, the QA/QC methods such as method detection and practical quantification limits are important. In this study, N₂O emission from a rice paddy was evaluated affected by the amount of nitrogen fertilizer, by taking into account both method detection and practical quantification limits for N₂O concentration. The N₂O emission from a rice paddy soils affected by the nitrogen fertilizer application was estimated in the following order. The method detection limit (MDL) of N₂O concentration was calculated at 95% confidence level based on the pooled standard deviation of concentration data sets using a standard gas with 98 nmol mol^-1 N₂O 10 times for 3 days. The practical quantification limit (PQL) of the N₂O concentration is estimated by multiplying 10 to the pooled standard deviation. For the N₂O flux data measured during the rice cultivation period in 2021, the MDL and PQL of N₂O concentration were 18 nmol mol^-1 and 87 nmol mol^-1, respectively. The measured values above the PQL were merely about 12% of the total data. The cumulative N₂O emission estimated based on the MDL and PQL was higher than the cumulative emission without nitrogen fertilizer application. This research would contribute to improving the reliability in quantification of the N₂O flux data for accurate estimates of greenhouse gas emissions and uncertainties.

• Journal of Practical Agriculture & Fisheries Research
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• v.10 no.1
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• pp.43-58
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• 2008

This research was conducted to determine the alternative tool of chemical spray for rice cultivation using the unmanned helicopter(Yamaha, R-Max Type 2G-remote controlled system) at farmer's field in Korea. The unmanned helicopter tested was introduced form Japan. In Korea the application of chemicals by machine sprayer for pest management in rice cultivation has been ordinarily used at the farmer's level. However, it involved a relatively high cost and laborious for the small scale of cultivation per farm household. Farm population has been highly decreased to 7.5% in 2002 and the population is expected to rapidly reduce by 3.5% in 2012. In Japan, pest control depending on unmanned helicopter has been increased by leaps and bounds. This was due in part to the materialization of the low-cost production technology under agricultural policy and demand environmentally friendly farm products. The practicability of the unmanned helicopter in terms of super efficiency and effectiveness has been proven, and the farmers have understood that the unmanned helicopter is indispensable in the future farming system that they visualized. Also, the unmanned helicopter has been applied to rice, wheat, soybean, vegetables, fruit trees, pine trees for spraying chemicals and/or fertilizers in Japan Effect of disease control by unmanned helicopter was partially approved against rice blast and sheath blight. However, the result was not satisfactory due to the weather conditions and cultural practices. The spray density was also determined in this experiment at 0, 15, 30, and 60cm height from the paddy soil surface and there was 968 spots at 0cm, 1,560 spots at 15cm, 1,923 spots at 30cm, and 2,999 spots at 60cm height. However, no significant difference was found among the treatments. At the same time, there was no phytotoxicity observed under the chemical stray using this unmanned helicopter, nor the rice plant itself was damaged by the wind during the operation.

• (The) Research of the performance art and culture
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• no.43
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• pp.357-380
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• 2021

Akjang yoram 『樂章要覽』 is a book that summarizes only the important contents from the Akjang 樂章. Akjang 樂章 is arranged in the first half, and score 樂譜 is arranged in the second half. It seems that Akjang yoram 『樂章要覽』 passed through a total of four stages through the time when the handwriting and the lyrics were written. The presence of various handwriting and traces of modifications means that it has been passed through by several people, so it is not unrelated to the fact that several traces remain on the back of the cover of Akjang yoram 『樂章要覽』. The first part of the Akjang 樂章 is a method of presenting the name and lyrics of the accompanying music based on the ritual procedure, and in particular, the lyrics are written in Chinese characters and Hangeul sounds to improve readability. The score in the second half complies with the ritual procedures, but boldly omits overlapping melodies, and is composed based on the music, and various symbols are used to capture the expression of court music. This structure is a reflection of the direction we practiced to harmonize with the music after prior ritual procedures and diction. This was a device to increase the efficiency of music education and music practice for the court musician. The characteristics of the musical pieces are that they consist of essential musical pieces that must be mastered as musicians. In addition, the name Kim Hyung-sik 金亨植 is noted on the back cover of Akjang yoram 『樂章要覽』, and he was a court musician who was active in the age of King Sunjo 純祖. In other words, the musical pieces included in Akjang yoram 『樂章要覽』 are the core repertoire played by court musicians like Kim Hyung-sik 金亨植. Akjang yoram 『樂章要覽』 is a 'music practice booklet' containing the daily life of court musicians. Akjang yoram 『樂章要覽』 is a booklet designed for the purpose of teaching the court musicians to sing while correctly pronouncing the lyrics in major ceremonies. It is even more noteworthy in that Kim Hyung-sik 金亨植 was an owner. In addition to the fact that Kim Hyung-sik's name remains, and in the practicality of being used by various court musicians reflecting and modifying the changes of the times, it is meaningful in that it contains the path of court musicians who spent a lot of time and time to transmit court music.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.41 no.1
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• pp.47-55
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• 2023

In this study, the following conclusions were drawn by analyzing the size, proportion, shape, angle, distribution, etc. of stones in order to identify the principles of facade molding of stonework of the 5th to 7th centuries of the Silla Dynasty. First, the uniformity of the size of the stones of the stone foundations of the Silla Dynasty was low at -0.8 to 4.1. This means that stones of various sizes were used, from small stones to large stones. In addition, the distribution of large stones in stonework of the Silla Dynasty appeared evenly regardless of height. This was common in the stonework of the Silla Dynasty, regardless of structural classification such as wells and mountain fortresses. It is thought that the Silla people did not only pursue practicality and efficiency in stone construction, but also considered design elements. Second, the proportional deviation of the stones of the stone walls of the Silla Dynasty was high, ranging from 0.861 to 1.515. This means that the stonework of the Silla Dynasty did not use only long flagstone-shaped stones, but used a mixture of long and short stones. Third, the shape average of the stones of the stonework of the Silla Dynasty was low at 0.45, and the shape deviation was high at the maximum of 0.15. This means that the stones as a whole have irregular shapes, and each stone has a high difference in shape. Fourth, the angle deviation of the stones of the Silla Dynasty was 4.3 to 16.2, and the average angle was 2. This means that the angle of each stone on the stone axis of the Silla Dynasty is tilted to the left and right. Fifth, there was no correlation between stone size, slenderness ratio, shape, and angle in the stone axes of the Silla Dynasty. In the case of stone axes in the Joseon Dynasty, there was a positive correlation between stone size and slenderness, and a negative correlation between stone size and shape. It can be said that the stones of the Joseon Dynasty were relatively standardized, but the Silla Dynasty showed the beauty of moderation by keeping the nature of the material and becoming one with the material.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.217-247
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• 2019

This research paper intends to examine the intertextuality of Klaus Mann's novel Mephisto (1936) and István Szabó's film Mephisto (1981) and how the derivative contents (i.e., film) accepted and improved the schematic aesthetics of conviction in original contents (i.e., novel). In general, the aesthetics of conviction is applied to criticize the state socialism of the artists of the Third Reich or the ideology of the artists of East Germany from a biased ethical perspective. Mephisto is also based on the aesthetics of conviction. Thus, it would be meaningful to examine the characteristic similarity and difference between Klaus Mann's real antagonist (i.e., Gustaf Gründgens) and fictional antagonist (i.e., Hendrik Höfgen) from a historical critical perspective. In this process, an aesthetic distance between the real and fictional antagonists would be secured through the internal criticism in terms of intertextuality. In this respect, the film aesthetics of István Szabó are deemed to overcome the schematic limit of the original novel. The conviction in both the novel and film of Mephisto pertains to the belief and stance of a person who compromised with the state socialism of Nazi Germany, i.e., succumbed to the irresistible history. Klaus Mann denounced Mephisto's character Höfgen (i.e., Gründgens in reality) as an "Mephisto with evil spirits" from the perspective of exile literature. For such denunciation, Klaus Mann used various means such as satire, caricature, sarcasm, parody and irony. However, his novel is devoid of introspection and "utopianism", and thus could be considered to allow personal rights to be disregarded by the freedom of art. On the contrary, István Szabó employed the two different types of evil (evil of Mephisto and evil of Faust) from a dualistic perspective (instead of a dichotomous perspective of good and evil) by expressing the character of Höfgen like both Mephisto and Hamlet (i.e., "Faust with both good and evil spirits). However, Szabó did not present the mixed character of "Mephisto and Hamlet (Faust)" only as an object of pity. Rather, Szabó called for social responsibility by showing a much more tragic end. As such, the novel Mephisto is more like the biography of an individual, and the film Mephisto is more like the biography of a generation. The aesthetics of conviction of Mephisto appears to overcome biased historical and textual perspectives through the irony of intertextuality between the novel and the film. Even if history is an irresistible "fate" to an individual, human dignity cannot be denied because it is the "value of life". The issue of conviction is not only limited to the times of Nazi Germany. It can also be raised with the ideology of the modern and contemporary history of Korea. History is so deeply rooted that it should not be criticized merely from a dichotomous perspective. When it comes to the relationship between history and individual life, a neutral point of view is required. Hopefully, this research paper will provide readers with a significant opportunity for finding out their "inner Mephisto" and "inner Hamlet."

• The Korean Journal of Franchise Management
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• v.2 no.2
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• pp.45-69
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• 2011

A basic function of packaging is preservability, delivery, subdivision, aesthetic and serviceability on packaging. Originally, the function and necessity of packaging is on preservability, but today it is expending before. then packaging is focusing on sales promotion. Although it is hard to say production itself, it could does when it is made. also, it is important for product to be goods when packaging and its materials are identification on matching each other. The role of packaging design is a core factor that satisfy consumer a various of needs and wants. In the past, the role of food packaging design is just preservability and delivery on product. but then, nawaday it is asked a various role. Not only present products have to get inherency but also have added value. That is, advanced technologies, information, and richness from materials which are diversity for coming a extention of choice. currently, food packaging design shouldn't have stayed on just packaging which cover beautiful. Packaging design is a symbolic sign. It is importance for manager to do R&D, producing, and distribution, also for consumer who use and buy the product whether manager and consumer think package design is a main mediation. This day, food design pay attention to be asking consumer's a number of sensitivity. It is the reason that the package is importance and exist. This article is to examine preservability, delivery, subdivision, aesthetic, serviceability, and environmental orientation in order to develop and show a method and theories to find package design in food industry the reason that why sales promotion and its profit increase. Consequently, draw on the function of package design effects the benefit on product is distribution. Green Design on the food packages by combining recycled and biodegradable food packages for the development of practices and long life to the look of the food package design practices.