• Proceedings of the KSAR Conference
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• 2003.06a
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• pp.48-48
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• 2003

본 실험은 spermatogonia 단계에 발현하는 유전자를 찾기 위하여 suppression subtractive hybridization를 수행하였다. 기존에 mouse에서는 spermatogonia 특이적인 유전자들이 밝혀져 있기 때문에 pig에 특이적인 유전자를 찾기 위하여 pig 250days testis와 pig 60days testis를 재료로 하여 실험하였다. SSH를 통하여 254days testis에 특이적으로 발현되는 후보유전자를 7개 찾았고 25days testis와 60days testis 의 Northern blot을 통하여 25days에 과발현하고 60days에 발현의 양이 대폭 줄어드는 spermatogonia 유전자로 생각되는 후보유전자 2개를 선택하여 pig tissue northern blot, genomic DNA southern blot, RT-PCR 그리고 In-situ hybridization을 수행하였다. Tissue northern blot과 RT-PCR을 통하여 후보자 1번은 간과 폐, 난소, 정소에서 발현하고, 후보유전자 15번은 난소와 정소에서만 특이적으로 발현함을 알았다. DNA sequence analysis와 NCBI Blast search를 통하여 후보자 1번은 다른 종에서 밝혀진 유전자였고 후보유전자 15번은 어느 종에서도 밝혀지지 않은 새로운 유전자였다. Degenerated primer를 통하여 후보자 1번의 pig full sequence를 밝히고 NCBI에 등록하였다. 그리고 In-situ hybridization을 통하여 후보유전자득이 20일째 testis의 Leydic cell에서 많이 발현되고 adult testis에서는 발현이 감소하는 결과를 얻었다. 이것으로 보아 위의 두 후보유전자는 spermatogonia에 직접 관련된 유전자이기 보다는 spermatogonia의 발달에 영향을 주는 leydic cell 특이발현을 가진 유전자로 사료되어진다.

• Journal of the Korean Institute of Illuminating and Electrical Installation Engineers
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• v.20 no.10
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• pp.1-9
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• 2006

The emergency lighting plan for underground space should be done with consideration of characteristics of the space. In terms of utilizing the Depthmap program from the Space Syntax theory, it is possible to analyze space quantitatively. Integration and intelligibility are major induces of this theory and we can use them as emergency lighting design parameters. For this study, human behaviors and survivor's evacuation routes in fire emergencies are analyzed through literature review. Based on those results, this study suggests the methodology of emergency lighting plan in underground space.

• The Korean Journal of Malacology
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• v.3 no.1
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• pp.44-67
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• 1987

담수 저서 생물군 중의 하나인 연체동물은 인간 생활에 있어 매우 중요하다. 이들은 먹이사슬(food chain)과 깊이 연관되어 있고 하상 퇴적물의 찌꺼기를 섭취하는 청소자로서의 역할 뿐 아니라 안간의 식용으로 이용되기도 한다. 어떤 종은 생태학적 지표종으로서의 역할을 하며, 어떤 종들은 지리적 특성과 연관성을 연구하는데 대상이 될 뿐 아니라 과거의 수계 형성과정을 추정하는데 중요한 역할을 한다. 부정적 측면으로는 한국 담수산 권패류의 몇몇 종류는 인체의 흡충류 기생충을 전달하는 그들의 역할 때문에 실제 문제시 되고 있다. 그들의 이 같은 중요성에도 불구하고, 한국산 담수 연체동물에 대한 깊은 연구가 이루어지지 않고 있는바, 이는 부분적으로 한국에 서식하는 연체동물상을 동정함에 있어 쉽게 이용될 수 있는 적당한 분류체계가 부족하였기 때문이다. 본 논문의 첫째 목적은 한국산 담수 권패류를 속(genus)수준까지 동정할 수 있는 색인을 마련하고 그 분류기준을 세우는데 있으며, 둘째로는 한국산 담수 권패류에 대한 광범한 문헌을 수집하고 중요한 문헌의 순서에 따라 그 내용을 간략히 요약하여 앞으로의 연구자득에게 도움을 주고자 한 것이다.

• The Journal of Korean Philosophical History
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• no.42
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• pp.9-37
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• 2014

This article is to review academic aspects of Iljae Lee Hang through Toegye Lee Hwang's comments. Iljae Lee Hang (一齋 李恒: 1499~1576) is a representative Neo-Confucian scholar in Honam area in 16th century. His Sung Confucianism was known to Toegye Lee Hwang by Gobong Gi Dae Seung and consequentially received attention from academic world. Lee Hang's Sung Confucianism, however, has hardly drawn attention since 17th century due to Lee Hwang's negative assessment. Impeaching Lee Hang's academic attitude and methods, Lee Hwang evaluated him as having many problems. Lee Hwang criticized that Lee Hang studied Neo-Confucianism with no great effort and he was so much confident to say 'Logic of the world does not deviate from this' based on Chengzi and Zhuzi's saying which was only appealing to his ideas. Lee Hang actually cited theories of Chengzi and Zhuzi and stressed self-complacency when necessary, which therefore made him fail to exhibit consistency. Iljae partly brought Lee Hwang's criticism upon himself. Lee Hwang's negative assessment is not to be literally accepted but his assessment is helpful indeed to critically examine Lee Hang's Neo-Confucianism.

• Proceedings of the Korean Institute Of Construction Engineering and Management
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• 2004.11a
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• pp.79-86
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• 2004

The technical expert standing system of our const겨ction industry is operated by the Ministry of Labor subjective national technical qualification law, as the professional engineer, architect and architect-engineer and so on. The construction management(CM) which is introduced on middle 1990 activates a building industry the condition of the essential indispensability for is becoming, is not officially recognized with national qualification to be, that as pending issue it is most urgent, the specialty manpower positivity which is judged as the nostril poop]e for qualification of the civil CM educational institutions has the certification which is a each educational program and a separate way and it is the actual condition which is become accomplished. The problem when as international certification the CMAA which is only it secures a reliability certification which is a CCM and SAVE seeing in the certified which is a CVS, compares in the foreign nation and the CM certification is excessive, it does not secure a reliability and an efficient characteristic to give a confusion to the capital increase lattices which in a condition are, it is mass produced it is a point. It saw from, it observes the capital increase reserve problem point which is a domestic CM and the certification integration which is a report and system anger it leads and with national certified qualification it develops to present the improvement program for, it does to sleep.

• The Journal of the Convergence on Culture Technology
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• v.6 no.3
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• pp.1-8
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• 2020

EuiJae Hu BaekRyun is a symbol of Honam Namjonghwa and is respected as a teacher of Honam culture. He is from JinDo and is a relative of Sochi Heo Ryun and a disciple of Misan Heo Hyeong. The spirit of traditional Namjongghwa and the dignity of painting faithful to its technique have been obtained by themselves, and have made it his own. EuiJae organized a 'Yeonjinhoe' in Gwangju to raise his students. After liberation, a house was built under Mudeungsan Mountain. And showed another aspect as a social educator who emphasized and practiced national spirit while being a tea ceremony man. He excelled in Chinese poetry and painting theory, and expressed a unique field in calligraphy. especially worked as an artist good at poetry, caligraphy, and painting. EuiJae showed exceptional talent, especially in landscape painting. His tendency to paint was to follow Ye Chan's technique of drawing with a dry brush, placing importance on the energy of learning, and constantly trying new experiments with the technique of gisaeng. The world of EuiJae's works can be divided into three periods, based on the signature using the trend of painting or the change of perspective pursued, the era of EuiJae, the era of EuiJaeSanin, and the era of EuiDoin, which had a tendency of independent painting. EuiJae's contribution surpassed the artistic historical assessment that he had formed a big stem for the authentic Namjongghwa of Korean painting culture, which was part of Oriental painting. And recognizing that he was a fundamental teacher connecting modern times through the actual scenery based on NamDohwa's universal spirit and regional characteristics and the creative succession of emotions, he should inherit his passion for artistic spirit and tradition and experimental spirit.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.3
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• pp.97-110
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• 2012

This study aimed at considering the original shape of Iljiam Tea Garden at Mt. Daedun. In order to accomplish our goal, we tried to strengthen the authenticity of construction of Iljiam by comparing its space structure depicted in the poetry of Choeui(艸衣) the monk with its current restored state. According to the clues and situation in the poetry along with symbolic words like 'Choeui' and 'Ilji(一枝)', Iljiam seemed to be a tea garden with elegant and celestial beauties, and with a nice view where Choeui the famous monk searched for the highest state of enlightenment by enjoying and living in nature. When we compared the plural aspects of Iljiam like Dacheon(茶泉), Dajo, Mulhwak, Darim(茶林), Chaewon(菜園), and Yeonji(蓮池) with those of Dasan Tea Garden[茶山草堂], we could see that the basic components of tea-culture space of both gardens are the same, showing the organizational principle of the top and bottom area to stress reading and studying. When it is restored, the authenticity of Iljiam should be pursued by linking spatial, historical, and landscaping characteristics as the space of which Choeui the monk carried out Zen meditation and mastered tea. However, the recent grand scale Buddhist business like the expansion of access road and construction of Buddhist sanctuary and Seolimdang became the biggest threat to the authenticity. Especially, it was emphasized many times in various poetry that the view from Iljiam and its surroundings is extraordinary, so it is critical to get rid of obstacles to the view from Iljiam and its surroundings in order to restore Iljiam as its genuine form. The current Iljiam should be re-made because it is like a leaf-roofed garden, not like a hermitage. However, the opinion that Jawoohongryeon-sa(紫芋紅蓮社) is somewhat a Taoistic and Taoist hermit space with a special shape adopted the pattern of building of the Joseon period rather than a Buddhist building can be accepted as long as other convincing historical evidences are found out, considering the ideology of uniting Confucianism and Buddhism and the spirit of Taoist hermit found out from poetry of Choeui and his friends. In conclusion, the restoration of Iljiam in 1979 was carried out to restore the place of Iljiam rather than to restore the originality of Iljiam by combining and referring domestic cases of tea gardens. However, there is not much material for restoration even though the main frame of Iljiam was distorted. Nevertheless, the top and bottom ponds should be constructed as a rectangle shape. In addition, it can be improved much in terms of plants and trees. It is necessary to restore bamboo forest, which was razed in order to make a tea plantation around Seolimdang, to set vines of arbors above the upper limbs, to plant pine trees and willow trees inside of the garden, and to put Dajeolgu under the corner of the eaves. Especially, the bamboo forest emphasized in poetry and took care of by Choeui himself should be restored inside of the garden.

• (The)Study of the Eastern Classic
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• no.73
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• pp.9-33
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• 2018

This paper examines the literary theory of Gollyun(昆侖) Choe, Changdae(崔昌大, 1669-1720). He has authored a variety of works, and his works have been recognized in many literatures. Because of this, studying his literature is a meaningful. The theory of poem creation is as follows. It is the basic poem creationism that expresses the feelings that I experienced and felt as it is. The utility is to multiply and control the artist's feelings through his poem. However, the creative theory of being the best writer is different from this. It must be premised on finding from the heart and studying various books. If these qualities was provided, the words are clear and the meaning is condensed. He distinguished between general works and the best works, and presented their own creative theory and discussed their utility. The theory of prose utility is as follows. He emphasizes the importance of communicating with contemporaries and establishing important things of the day and making them easier to understand, without specifying the morality. This is a thoroughly realistic utility theory. In the classical chinese prose's history, 'Sadal(辭達)' and 'Susa(修辭)' were issues. He transcends the recognition of 'Sadal(辭達)' and 'Susa(修辭)' as zero-sum. In addition, he gives priority to the meaning of the writer and emphasizes self-realization, which is in common with other political soron(少論) writers' theories. When creating prose, simplicity and bizarreness were issues. He emphasizes concise writing. However, it can be realized when a writer with high opinion is aware of the reason and raises the core. Through various sources, he has completely rejected Ming(明) dynasty's former and latter seven master(前後七子). However, he did not exclude their work unilaterally, and recognized the work of Chin-Han dynasty(秦漢) and Dang-Song dynasty(唐宋). This is the same as his father Choiseokjung(崔錫鼎). He recognized Chin-Han dynasty(秦漢) and Dang-Song dynasty(唐宋) equally, and sought a simplified and summarized style.

• (The)Study of the Eastern Classic
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• no.72
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• pp.35-66
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• 2018

This thesis has examined Jo Guimyeong's observation method and rhetoric of style of writing style. He tried to look at the world differently through observation and expressed relationship with the world through the style of comic. $J{\breve{o}}nggwan$ is a new way of looking at subjects and objects. It trust the senses and thoughts of the subject. So It is to clarify the circumstances and logic of the world from one's own point of view. In this case, it collides with the common thinking of the day. He put the reason and the action standard in the "taste" and the "mind". This means three things. First, he is proud that his reasons and actions are no different from those of a saint. Second, an individual is an independent being with different emotions and thoughts. Third, based on this, his works of literature have their own value. These reasons and actions were incarnated through '$J{\breve{o}}nggwan$(靜觀)'s observation methods. What he gained from the three stages of $J{\breve{o}}nggwan$(靜觀)' is the 'great mind'. The first step is self-reflection. It is the process of objectifying oneself. The second target is the appearance of things. It's about looking at everything equally, whether it's precious or vulgar. The third object of observation is a harmonic. He is joining the movement of the harmonizers. Therefore, one's own reasons, actions, and works of literature share the same meaning as those of a harmonizer. He said that the description can change according to his own knowledge. It means that you can fit the situation. A typical example was the analysis of 'Sung Bo hyung hwasangchan'<成甫兄畵像贊>. He described Park Moon-soo's life as the lives of officials through comic. Through this, He criticized Park Moon-soo's natural nature of the academic world. but the situation in which he can't escape from bureaucratic life by inducing laughter. This style of writing is one of the most representative features which was written by Jo Guimyeong writer.

• The Journal of the Convergence on Culture Technology
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• v.8 no.2
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• pp.227-234
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• 2022

Seok Jeon Hwang Wook (18913~1999), a descendant of a traditional literary writer in the western part of Honam, did not join the flow of modern and contemporary calligraphy and painting. And throughout his life, he enjoyed himself without losing the appearance of a scholar, immersed himself in traditional calligraphy, and gained spotlight at his late age for his original hand grabbing calligraphy. Immediately after the Korean War, all of his property was lost due to his two sons' left-wing activities, causing great pain at home. Even in the most painful and difficult time in human history, he relied on brushes, poetry, and gayageum to keep his upright scholarly spirit and national love. And beyond the pleasures of the worldly senses, he played with self-satisfaction in the 'true pleasure(大樂)' without greed. In the course of his studies, he focused on honing the fonts of Wang Hui-ji, Gu Yang-sun, An Jin-gyeong, Jo Maeng-bu, and Xin-wi and Lee Sam-man without a special teacher. In particular, he faced a crisis of having to give up his brush due to tremor that came after his 60th birthday, but he showed a strong will. He transformed it into a new style of art, such as developing hand grabbing calligraphy(握筆法) with a strong and strong energy that no one could match. From 1965 to 1983, 'right hand grabbing calligraphy' was used, and from 1984 to 1993, 'left hand grabbing calligraphy' was used. She made her name as a calligrapher widely known in 1973 (age 76) with her first solo exhibition, The Calligraphy Exhibition commemorating her 60th wedding anniversary. His writing method is naturally rough and sloppy by breaking away from the previous calligraphy methods and artificial technique, and is unfamiliar yet full of muscle. And the calm, strong and rough chuhoegsa(錐劃沙) and the heavy yet majestic ininni(印印泥) individual handwriting expressed a strange feeling and achieved original Seokjeon calligraphy that went beyond the existing calligraphy writing methods, and his indomitable calligraphy spirit was As a unique existence in the history of calligraphy, he still remains as a model.