• Journal of Korean Society of Forest Science
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• v.27 no.1
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• pp.5-14
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• 1975

Eroded sloping faces in hillsides including cut-bank slopes are liable to both surface erosion and land-slides and the key to control of these form of erosion lies with drainages of excessive run-off and dense vegetation establishment including surface mulching on the slopes. Micro-plots having $1.6m^2$ (1 metre in width and 1.6 metres in slope length, and 1:1.2 in gradient) of banking slopes on coarse sand soil are used to establish the order of magnititude of the difference in controlling of soil erosion and water runoff, and in rating of survival, performed on the repetetions of three-experiment plots consisted of such three levels as 90% (Dense), 70% (Moderate), and 50% Sparse of the density of the coarse straw-mat mulchings. The main results obtained may be summarized as follows: 1. The rates of surface runoff are calculated as 13.13% from the dense mulchings, 14.21% from the moderate mulchings, and 15.57% from the sparse mulchings respectively. 2. The total amounts of soil loss are measured as about 1.24 tons/ha. from the dense mulchings, about 1.33 tons/ha. from the moderate mulchings, and about 1.44 tons/ha. from the sparse mulchings respectively. The amounts of soil loss under these treatments are much lower than the standard of erosion in USDA (1939 Bennet). 3. Average numbers of germination by treatment are counted as 80 seedlings at the dense mulchings. 132 at the moderates and 121 at the sparse respectively. Large numbers of seedling are suppressed and died during the growing at the dense mulchings due to mainly mechanical obstruction. 4. Coarse straw-mat having about 70% of coverage density is the most suitable mulches in both soil erosion control and vegetation establishment. 5. The method of coarse straw-mat mulching is the most recommendable measure for establishing the vegetation cover with less soil erosion on the denuded gentle slopes in hillsides at present in Korea.

• The Journal of the Petrological Society of Korea
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• v.15 no.3 s.45
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• pp.139-153
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• 2006

For the characteristics of rock material and standardization, flagstones of the trifurcated path in Jongmyo Royal Shrine, registered as World Cultural Heritage, were studied on the basis of petrographic, petrochemical and magnetic properties. The flagstones are composed mainly of pale gray fine to medium grained hornblende biotite granite, pale gray fine to medium grained biotite granite, pale pink medium to coarse grained biotite granite, pink medium to coarse grained biotite granite and minor pegmatite and schist. Flagstone represents the average size of $65cm{\times}4cm$ (standard deviation $12cm{\times}7cm$) and suitable (34.7%), common (41.4%) and unsuitable (23%) in roughness. It is interpreted that pale pink and pink granite, pegmatite, schist and other flagstones with unsuitable state are not original rock materials and were exchanged during restoration, in the past. The number of these non-original rock materials is about 560 flagstones. We suggests that the standard flagstone of the trifurcated path is pale gray fine to medium grained biotite granite (${\pm}$hornblende in trace), 70wt.% in $SiO_2$, content, and ${\pm}0.1{\times}10^{-3}\;SI$ in magnetic susceptibility.

• (The) Research of the performance art and culture
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• no.32
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• pp.489-524
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• 2016

This study examines the birth of a genre, the $Sekky{\bar{o}}bushi$ Misemono Opera, focusing on how it accepted and modernized Katarimono $Sekky{\bar{o}}bushi$. Unlike earlier studies, it argues that Terayama was clearly different from other first-generation Angura artists, in that he rebirthed the medieval story $Sekky{\bar{o}}bushi$ as a modern Misemono Opera. Shintokumaru (1978) was directed by Terayama $Sh{\bar{u}}ji$, a member of the first generation of Japan's 1960s Angura Theatre Movement. It takes as its subject the Katarimono $Sekky{\bar{o}}bushi$ Shintokumaru, a story set to music that can be considered an example of the modern heritage of East Asian storytelling. $Sekky{\bar{o}}$ Shintokumaru is set in Tennoji, Japan. The title character Shintoku develops leprosy as a result of his stepmother's curse and is saved through his fiancee Otohime's devoted love and the spiritual power of the Bodhisattva Avalokitesvara. In this work, Terayama combined the narrative style of $Sekky{\bar{o}}bushi$ with J.A. Caesar's shamanistic rock music and gave it the subtitle 'Misemono Opera by $Sekky{\bar{o}}bushi$'. He transforms its underlying theme, the principle of goddesses and their offspring in a medieval religious world and the modori (return) instinct, into a world of mother-son-incest. Also, the pedestrian revenge scene from $Sekky{\bar{o}}bushi$ is altered to represent Shintokumaru as a drag queen, wearing his stepmother's clothes and mask, and he unites sexually with Sensaku, his stepbrother, and ends up killing him. The play follows the cause and effect structure of $Sekky{\bar{o}}bushi$. The appearance of katarite, a storyteller, propelling the narrative throughout and Dr. Yanagida Kunio is significant as an example of the modern use of self-introduction as a narrative device and chorus. Terayama $Sh{\bar{u}}ji^{\prime}s$ memories of desperate childhood, especially the absence of his father and the Aomori air raids, are depicted and deepened in structure. However, seventeen years after Terayama's death, the version of the play directed by Ninagawa Yukio-based on a revised edition by Kishida Rio, who had been Terayama's writing partner since the play's premier-is the today the better-known version. All the theatrical elements implied by Terayama's subtitle were removed, and as a result, the Rio production misses the essence of the diverse experimental theatre of Terayama's theatre company, $Tenj{\bar{o}}$ Sajiki. Shintokumaru has the narrative structure characteristic of aphorism. That is, each part of the story can stand alone, but it is possible to combine all the parts organically.