• (The)Study of the Eastern Classic
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• no.54
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• pp.183-211
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• 2014

This article is to search the aspects of realization and the characteristics of Gasa, Sijo, Japga among the Korean poetry genre based on Chohan-gosa. Chohan-gosa is a basic literary and historic discourse for the medieval intellectuals. The story had been realized its own literary value at almost every genres such as Chinese literature, novels, Gasa, Japga and Sijo etc. I focused on Gasa, Sijo and Japga among the genres in this article. First of all, I subjected to Wumiin-ga enjoyed in a area of boudoir culture from Gasa based on Chohan-gosa. I catch the meaning that the text has a characteristic that popularized history and normative ideology are mingled in through it. In the case of Sijo, I focused on the Sijo which Xiang Yu is appeared in because Xiang Yu has been most quoted person from people of Chohan-gosa. Xiang Yu was described as a strong man[hero] or a man who part with the beauty Wu. I understand that this point is caused by the theatricalized characteristic of the place where Sijo have been played. For the last time, Japga is played with the characteristic of stimulative reediting of the familiar normative ideology. Chohan-ga is based on contexts of former discourse eohan-yeonui but it was not plagiarized. Chohan-ga was organized for the way which attracted the interest of the public and stimulated the emotion of the public through using popular imagery or intensifying the sorrow.

• The Journal of the Convergence on Culture Technology
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• v.5 no.1
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• pp.113-118
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• 2019

Choi Buk(1712-1786) is the master of three poems, caligraphy, paintings of the Middle Class Painter. There is a resisting cynicism against discrimination, a madly free and unbridled madness that is not bound by itself, and a master sense due to pride in his artistic talents. Madness and stubborn as an image of a unique painting through unworldly and clasical scholar oriented Muninhwa. His muninhwa has many poetic picture paintings where poetry and painting are one, and the technique of painting depicting objects is based on the power of the muscles and is a madness brush which is not bound anywhere. And it expresses the level of art in a higher level through the unconventional composition of the unconventional composition, the simplicity of the line, and the unique operation of margins and colors. His Muninhwa appeared naturally in the works of art, which is a pride of enterprising people and a belief that aesthetic pursuit of a change of the unchanging ones.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.39 no.4
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• pp.85-98
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• 2021

In accordance with planning to construct culture park on Songhyeon-dong (district) near Gyeongbokgung Palace, This study analyzed literature and drawings from the early Joseon Dynasty to today for the district, known as 'Songhyeon (pine hill)' to identify historical and cultural landscapes during essential times. The following are the results; First, the owners of significant lots were identified, and land use and landscape components were extracted for a diachronic examination of the landscape of the whole area of Songhyeon-dong. Songhyeon district had been regarded as the 'Inner Blue Dragon (Spot) of Gyeongbokgung Palace' in terms of geomancy since the foundation of Joseon in 1392 in that the government created and managed a 'pine forest' in the district. A state warehouse called 'bungam' was constructed, and small fruit stores, 'ujeon,' opened due to the complete reformation and urban planning led by King Taejong in 1410. From the 19th century, mansions of the upper class, such as 'Gaseonggak', 'Changnyeongwuigung' and 'Byeoksugeosajeong' were in the district. A prominent official residential complex called 'Sigeun Sataek' was constructed in 1919 after Chosen Siksan Bank purchased the site. Later, it was transferred to America in 1948 and used as the 'US Embassy Staff Quarters'. Second, the changes in the site view, associated with the aspects of society by the times, were examined by estimating the location and the time the landscape components lasted in each period extracted and identifying the physical entity. The pine forest, regarded as the 'Inner Blue Dragon' that guards the left side of the palace within the geomantic world view, was located in the highlands in the west of the site. In the same period, the flat area in the east was regarded as the 'commoner's district', the streets adjacent to various government facilities and the market, packed with people from different walks of life. From the 19th century, the gardens of the aristocrats of the capital city were created in the pine forest, turning the place into the forest in the middle of the city. The whole area of Songhyeon-dong, which existed as a large lot in the city center for a long time, was developed by Japanese imperialists in the 20th century based on the concept of 'Ideal Healthy Land,' which interrupted the placeness of Songhyeon-dong that had adhered to the traditional geomatic view of the Joseon Dynasty.

• Journal of Life Science
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• v.17 no.7 s.87
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• pp.944-947
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• 2007

Bacillus sp.LPO3 (producing emulsifying substances such as bio-surfactant) was used as a bio-control agent to degrade hydrocarbon (gasoline in oil spilled crop soil). The soil (brought from fertilizer store)was mixed with gasoline-spilled soil (made with Diatomaceous Earth, Sigma.U.S.A). The study was conducted for a period of 13 days, 13 days during which bacterial growth, hydrocarbon degradation and growth parameters of Bacillus sp.LP03 including shoot and root length were studied. We found that the effective of bacterial producing substance might bio-surfactants let the plants survive even more promote the growth of shoot and root length and showed antifungal activity against gray mold. Without the bacteria, they couldn't grow in oil-spilled soil not even survive. According to the results of the above experiments, we can see with following results, hydrocarbon in gasoline was reduced, day by day, then RNA dot blotting was done and it fit the results we had done. Finally, this Bacteria(producing bio-surfactant) were found to have effective bio-control agent for cropping in oil spilled soil and infected by gray mold.

• The Journal of the Convergence on Culture Technology
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• v.5 no.2
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• pp.279-286
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• 2019

Jo, Hee-ryong(1789-1866), who was given the title of "boss of the world handling a China inkt" in the late Joseon Dynasty, was from a noble family, but he claimed to be a yeohang-in himself. The byeoggyesa was formed based on Jong-in and they are engaged in literary activities. Hee-ryong Jo, "I do not follow people's back" is the art spirit of my life. The theory of the Holy Spirit has inspired emotion or inspiration as the essence of art. He pursued original aesthetics of painting with the true nature and personality as important. During his early 60s, the period of banishment for about three years had a profound impact on the identity and direction of his art world. During this period, he wrote four volumes, including "Hwaguamlanmug", "Uhaeagamgo", "Sugyeongjaehaeoejeogdog", "Hanwaheonjehwajabjon" and among his paintings with 19 paintings, eight paintings were produced, including "Hwangsannaengundo", "Bangunlimsansudo", "Maehwaseoogdo". These works reveal the Playful sokmi sprit, the grotesque of manual dexterity, and the aesthetic of painting through the natural divergence of natural nature.

• Journal of Korean Society of Rural Planning
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• v.30 no.3
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• pp.19-28
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• 2024

This study investigated and analyzed the landscape conservation activity promotion process targeting the 'Alassiasdeuli Community Farming Association Corporation', which is carrying out continuous rural landscape conservation activities led by local residents in the area of Yeohang Mountain, Yeohang-myeon, Haman-gun, Gyeongsangnam-do. Through this, the factors necessary to promote rural landscape conservation activities led by residents were identified, and implications necessary for rural landscape conservation activities led by residents were derived. The first factor that allowed Alassiasdeuli to pursue resident-led rural landscape conservation activities was the fact that an economically stable foundation was established before pursuing conservation activities. Rural landscape conservation activities are carried out based on continuous agricultural activities, and agriculture is closely related to the economic aspect. Accordingly, Alassiasdeuli had a small but regular income from the package business, and was able to carry out various rural landscape conservation activities based on this. Second, within the community, a sense of purpose for rural landscape conservation was shared as a common value. It started with common values that were in line with rural landscape conservation, such as an economic community based on agriculture, indigenous seed conservation, and eco-friendly agriculture, and later, awareness of traditional agriculture and rural landscape conservation was gradually established through members' continued empowerment and related experiences. It has been done. Third, various connections and cooperative relationships were established with residents, related organizations, and administration. We established cooperative relationships by recruiting local organizations and residents as active participants beyond program participation, and exchanged information and expanded the scope of activities by establishing networks with organizations such as the 'Gyeongnam Darang-Non Network'. In addition, through connection with administration, we experienced various projects and ensured the sustainability of activities through support. Fourth, there was a keyman who could organize activities and control the scale of support projects, taking into account the awareness and capabilities of members. In particular, it is thought that this was possible because the Secretary General was based on building a relationship of trust with residents before Alassiasdeuli was formed. Therefore, in order for resident-led rural landscape conservation activities to be continuously carried out, an organization must be formed centered on farmers, and the economic sustainability of the organization, sharing of common values, and trust relationships among members are the basis, and the Sustainable activities can be promoted through various cooperative relationships between residents, organizations, and administration.

• Sleep Medicine and Psychophysiology
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• v.5 no.1
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• pp.88-102
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• 1998

Objectives : We attempted to study obstructive sleep apnea symptoms prevalence and sleep apnea-associated factors in Korean rural adult population. Methods : In 1,441 adult subjects of three rural communities selected by cluster sampling, we administered an epidemiologic survey using questionnaire methods from July 14, 1996 to July 28, 1996. Results : 1) In 14.1% of the subjects, snoring was reported to occur almost daily and 2.9% of the subjects reported sleep apnea symptoms occurring almost daily. 2) Snoring and sleep apnea symptoms were found more frequently in males or in mid-aged group(45 - 64 years old) than in females or in younger- and older-aged groups, respectively. Compared with the subjects who have no snoring, the subjects who have snoring or sleep apnea symptoms had greater body mass index(BMI), waist-hip ratio, hemoglobin level, RBC count, and higher diastolic blood pressure. 3) Cigarette smoking and alcohol drinking more than once a week were significantly associated with suffering from sleep apnea symptoms. 4) In multiple logistic regression analysis, being male, mid-aged, and greater BMI were independently associated with the presence of snoring and sleep apnea symptoms. Conclusion : We conclude that, in the Korean rural adult population, males or mid-aged group suffers more from snoring and sleep apnea symptoms than females or younger- and older-aged groups. In addition, being male, mid-aged, and greater BMI were significantly associated independently with the presence of snoring and sleep apnea symptoms.

• 기호학연구
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• no.57
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• pp.91-120
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• 2018

This study was contemplated about an aspects of modernity that was discovered of ImcheonByeolgok(林川別曲) written by Okgukjae Lee, Un-young in 18th Century. It was composed time that unprecedented state in the 18th century. So, I considered that Modernity was the most appeared at 18th Century. During this period, Changes has happened in ideology and system in terms of politics, economy, society and culture. This change is the beginning of a new modern consciousness. There is also a tendency to think of Imcheonbyeolgok as the autobiographical story of Lee, Yun-young. It seems that Lee, Yun-young has a progressive scholarly thought, but he did not reveal his own situation by insulting him. Therefore, I am not realistically valid for being able to see it as an autobiographical story that he actually experienced. Also, although ImcheonByeolgok is known as a love song, it is hard to see it as a love song because its satirical features are strong. and It is characterized by the peculiar form of narrative being described as a dialogue. I picked two aspects of modernity in ImcheonByeolgok. One is resistance to love and desire, and the other is disintegration of the order of identity. The two aspects of this paper were presented as Greimas's Actant Model. ImcheonByeolgok is the result of efforts to show the changing modern Joseon Dynasty's elements in the form of resistance and resistance to Joseon's feudal society, such as Confucian ideology and identity systems. Thus, I suggested the corrupt ruling class of Joseon's feudal society and the exploited working class life as an old living and a grandmother instead of 'resistance' and 'disposal' in the 18th century. The criticism of traditional feudal societies that emerged in the 18th century turned out to be a hegemony that distinguishes the Middle Ages from the Modern Age, which resulted in differences between the ages before and after the 18th century. Although these hegemony were not clearly distinguished in household literature in the 18th century, it was established and developed in the 19th century. I suggested that Lim's Star Song was an important work that played an important role in bringing about this change.

• Korean Journal of Heritage: History & Science
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• v.51 no.4
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• pp.4-23
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• 2018

Seo Byeong-o (徐丙五, 1862-1936) played a central role in the formation of the Daegu artistic community-which advocated artistic styles combining poetry, calligraphy and painting-during the Japanese colonial period, when the introduction of the Western concept of 'art' led to the adoption of Japanese and Western styles of painting in Korea. Seo first entered the world of calligraphy and painting after meeting Lee Ha-eung (李昰應, 1820-1898) in 1879, but his career as a scholar-artist only began in earnest after Korea was annexed by Japan in 1910. Seo's oeuvre can be broadly divided into three periods. In his initial period of learning, from 1879 to 1897, his artistic activity was largely confined to copying works from Chinese painting albums and painting works in the "Four Gentlemen" genre, influenced by the work of Lee Ha-eung, in his spare time. This may have been because Seo's principal aim at this time was to further his career as a government official. His subsequent period of development, which lasted from 1898 until 1920, saw him play a leading social role in such areas as the patriotic enlightenment movement until 1910, after which he reoriented his life to become a scholar-artist. During this period, Seo explored new styles based on the orchid paintings of Min Yeong-ik (閔泳翊, 1860-1914), whom he met during his second trip to Shanghai, and on the bamboo paintings of Chinese artist Pu Hua (蒲華, 1830-1911). At the same time, he painted in various genres including landscapes, flowers, and gimyeong jeolji (器皿折枝; still life with vessels and flowers). In his final mature period, from 1921 to 1936, Seo divided his time between Daegu and Seoul, becoming a highly active calligrapher and painter in Korea's modern art community. By this time his unique personal style, characterized by broad brush strokes and the use of abundant ink in orchid and bamboo paintings, was fully formed. Records on, and extant works from, Seo's early period are particularly rare, thus confining knowledge of his artistic activities and painting style largely to the realm of speculation. In this respect, eleven recently revealed nanjukseok (蘭竹石圖; orchid, bamboo and rock) paintings, produced by Seo in 1889, provide important clues about the origins and standards of his early-period painting style. This study uses a comparative analysis to confirm that Seo's orchid paintings show the influence of the early gunran (群蘭圖; orchid) and seongnan (石蘭圖; rock and orchid) paintings produced by Lee Ha-eung before his arrest by Qing troops in July 1882. Seo's bamboo paintings appear to show both that he adopted the style of Zheng Xie (鄭燮, 1693-1765) of the Yangzhou School (揚州畵派), a style widely known in Seoul from the late eighteenth century onward, and of Heo Ryeon (許鍊, 1809-1892), a student of Joseon artist Kim Jeong-hui (金正喜,1786-1856), and that he attempted to apply a modified version of Lee Ha-eung's seongnan painting technique. It was not possible to find other works by Seo evincing a direct relationship with the curious rocks depicted in his 1889 paintings, but I contend that they show the influence of both the late-nineteenth-century-Qing rock painter Zhou Tang (周棠, 1806-1876) and the curious rock paintings of the middle-class Joseon artist Jeong Hak-gyo (丁學敎, 1832-1914). In conclusion, this study asserts that, for his 1889 nanjukseok paintings, Seo Byeong-o adopted the styles of contemporary painters such as Heo Ryeon and Jeong Hak-gyo, whom he met during his early period at the Unhyeongung through his connection with its occupant, Lee Ha-eung, and those of artists such as Zheng Xie and Zhou Tang, whose works he was able to directly observe in Korea.