• (The) Research of the performance art and culture
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• no.43
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• pp.121-143
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• 2021

The Aim of the this paper is to figure out impetus of the Naeseo Traditional Folk art Conservation Association. This Preservation Society derived from Hogaeri farmers' band. Through aging and hollowing out Hogaeri farmers' band got into a period of stagnation. In order to overcome slump villager and people of a township organized a conservation society in 1994. Members restored and directed folk song which from age to age for performance. are designated as cultural asset in 2017. Sutguldeong song is only song in inland area. This song are worthy of notice in . which is consist of various agricultural work songs experienced two changes. Rice-planting songs are characteristic. Especially, Executive playing a central role harden foundation of the Preservation Society. The mainspring of activity is the sense of responsibility. Preservation Society laying emphasis on recruiting new members. Preservation Society is planning to develop curriculum for Jurisdiction elementary and middle school students. This Preservation Society is made up of First generation members and Second generation members. First generation members who are born and bred in Hogaeri have been good friends both in joy and in sorrow Early days of Preservation Society. So, They has a strong family bond. In order to induce membership Members are practicing Nongak, popular folk songs, dancing program. Second generation members are not conversant with a folk song. Nonetheless They have a strong mind on a member line.

• Korean Journal of Ecology and Environment
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• v.56 no.1
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• pp.36-44
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• 2023

Environmental DNA (eDNA) can exist in both intracellular and extracellular forms in natural ecosystems. When targeting harmful cyanobacteria, extracellular eDNA indicates the presence of traces of cyanobacteria, while intracellular eDNA indicates the potential for cyanobacteria to occur. However, identifying the "actual" potential for harmful cyanobacteria to occur is difficult using the existing sediment eDNA analysis method, which uses silica beads and cannot distinguish between these two forms of eDNA. This study analyzes the applicability of a density gradient centrifugation method (Ludox method) that can selectively analyze intracellular eDNA in sediment to overcome the limitations of conventional sediment eDNA analysis. PCR was used to amplify the extracted eDNA based on the two different methods, and the relative amount of gene amplification was compared using electrophoresis and Image J application. While the conventional bead beating method uses sediment as it is to extract eDNA, it is unknown whether the mic gene amplified from eDNA exists in the cyanobacterial cell or only outside of the cell. However, since the Ludox method concentrates the intracellular eDNA of the sediment through filtration and density gradient, only the mic gene present in the cyanobacteria cells could be amplified. Furthermore, the bead beating method can analyze up to 1 g of sediment at a time, whereas the Ludox method can analyze 5 g to 30 g at a time. This gram of sediments makes it possible to search for even a small amount of mic gene that cannot be searched by conventional bead beating method. In this study, the Ludox method secured sufficient intracellular gene concentration and clearly distinguished intracellular and extracellular eDNA, enabling more accurate and detailed potential analysis. By using the Ludox method for environmental RNA expression and next-generation sequencing (NGS) of harmful cyanobacteria in the sediment, it will be possible to analyze the potential more realistically.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.41 no.1
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• pp.10-20
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• 2023

Zhū Xī, the representative of Confucianism, and Báiyùchán, the representative of Taoism in the South Song Dynasty, showed different sense of appreciation and enjoyment on the same space that was Mountain Wǔyí in their ideologically cultural ways. Based on the temples Wŭyíjīngshè(武夷精舍) where Zhū Xī stayed and Zhĭzhĭān(止止庵) where Báiyùchán resided, this study revealed their lives in such temples to look into their appreciation on ideology and space. Then, based on the words 'YiBoEumYeong [移步吟詠]' shown on the poetry they chanted in relation with Wǔyíjiǔqū from its 1^st valley to its 9^th valley, this study examines their understanding of scenery and system of appreciation that appeared in dynamic ways to conclude: First, even same scenery shows different understanding of scenery and appreciation of space in accordance with the viewers' thinking ways of culture. Second, as the Confucianism and Taoism influenced in ideologically cultural ways to develop each other in the Song dynasty, they absorbed their merits each other to supplement shortcomings in their own. In this process, they made it clear that their own propositions were different between them in their essential meanings although they used common terms for such propositions. Third, as the Confucian master who compiled the Neo-Confucianism of the South Song dynasty, Zhū Xī regarded Wŭyíjīngshè and Wǔyíjiǔqū as a place of learning and a place of seeking the truth to go for 'being unified with nature' so that everyday life can be united with Tao of Li [理] everywhere beyond the limited appreciation of the scenery. That is, this thought works for 'recovery of nature of our own [復其性]', the learning goal of Confucianism, and is aimed to 'cultivate the essential nature of our own(性情涵養)' through such beautiful nature. Fourth, as the master of Keumdan family of the South Song Taoism, Báiyùchán regarded Zhĭzhĭān and Wǔyíjiǔqū as a Taoist temple that has a long history rooting from Taesangwon temple, a clean place of discipline to become a Taoist hermit through hard training. He, therefore, directly referred to Zhĭzhĭān and Wǔyíjiǔqū in relation with the Taoist legends remaining in Wǔyíjiǔqū such as hermits' dinners, female hermits, leaving the human world as a hermit and so on as ways for becoming a hermit so that he went for the level of perfectly going out of human world and becoming a hermit. He, therefore, defined Mountain Wǔyí as a world and universe of hermits where he himself too hovered between outside and inside of poetry literature as a hermit through the mood and attitude of keeping himself enjoying the scenery as a hermit.

• Korean Journal of Plant Taxonomy
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• v.52 no.1
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• pp.54-63
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• 2022

Prunus subg. Cerasus is the most planted street and landscaping tree in South Korea, but it is difficult to identify species according to their macro-morphologies, leading to problems when attempting properly to manage species quantities. The purpose of this study is to understand the current status of plant types and species compositions in Bundang Central Park in Bundang-gu of Seongnam City and to discuss the necessity of the management of landscaping tree planting. In April of 2021, during the cherry blossom season, a total of 5,866 planted cherry trees were investigated within an area of 6 km² of Bundang-gu in Seongnam City. As a result, 5,744 trees were sorted into eleven taxa, but the remaining 122 trees were not determined due to their complex morphologies. Prunus ×yedoensis Matsum. accounted for the highest proportion (52.1%), followed by P. serrulata Lindl. var. pubescens Nakai and P. jamasakura Siebold ex Koidz. P. ×nudiflora (Koehne) Koidz., a plant native to Jejudo Island, was not found in this survey. In order to help identify cherry trees based on micro-morphologies, an identification key was presented for the eleven taxa planted as major landscaping trees. It is known that cherry trees frequently form interspecific hybrids in nature. In order to prevent a loss of the genetic originality of native species due to hybridization and gene introgression from foreign cherry trees, it is necessary to manage planting species near the habitats of native taxa and track their origins.

• Journal of the Korean Orthopaedic Association
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• v.52 no.1
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• pp.33-39
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• 2017

Purpose: Surgical risks associated with the resection of osteochondroma around the proximal tibia and fibula, as well as the proximal humerus have been well established; however, the clinical presentation and optimal surgical approach for osteochondroma around the lesser trochanter have not been fully addressed. Materials and Methods: Thirteen patients with osteochondroma around the lesser trochanter underwent resection. We described the chief complaint, duration of symptom, location of the tumor, mass protrusion pattern on axial computed tomography image, tumor volume, surgical approach, iliopsoas tendon integrity after resection, and complication according to the each surgical approach. Results: Pain on walking or exercise was the chief complaint in 7 patients, and numbness and radiating pain in 6 patients. The average duration of symptom was 19 months (2-72 months). The surgical approach for 5 tumors that protruded postero-laterally was postero-lateral (n=3), anterior (n=1), and medial (n=1). All 4 patients with antero-medially protruding tumor underwent the anterior approach. Two patients with both antero-medially and postero-laterally protruding tumor received the medial and anterior approach, respectively. Two patients who underwent medial approach for postero-laterally protruded tumor showed extensive cortical defect after resection. One patient who received the anterior approach to resect a large postero-laterally protruded tumor developed complete sciatic nerve palsy, which was recovered 6 months after re-exploration. Conclusion: For large osteochondromas with posterior protrusion, we should not underestimate the probability of sciatic nerve compression. When regarding the optimal surgical approach, the medial one is best suitable for small tumors, while the anterior approach is good for antero-medial or femur neck tumor. For postero-laterally protruded large tumors, posterior approach may minimize the risk of sciatic nerve palsy.

• Journal of Popular Narrative
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• v.25 no.2
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• pp.247-275
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• 2019

We hope that more diverse interests will arise in the novels by Park Gye-hyeong By looking at writers and works in time, we identified the key element of Park Gye-hyeong's novels as 'romantic'. Romantic nature of this time is lyrical, sentimental, spiritual, unrealistic and idealistic. Based on a romantic understanding of the world, the core sanction of the novel is love, focusing on feelings of sadness, and on the aspects of joy, separation, and pain that arise from loving relationships rather than the aspects of joy. Based on the feelings of grief, the novels end with failure, death and betrayal, thus embodying tragic romanticism. Before her marriage, Park Gye-hyeong's novels were love stories that revealed her longing for beautiful love based on sensibility. The idyllic world and longing for nature reveal a romantic world-view. Ultimately, it is a fictional worldview that the author seeks to despair and long for, and to find the sincerity and morality of love in an environment that does not. Park Gye-hyeong, who became a housewife, expressed that she wanted to write a piece that can give readers a sense of nostalgia by embodying "romance at a high level," not "sentimental." In subsequent works, physical relationships are treated as failures of love and spiritual relationships as the fruit of love, revealing the lofty spirituality, idealistic longing and religious nature of love. Park Gye-hyeong confessed her shame about her previous work when she published a new one after more than two decades of writing. And after more than two decades of reflection, her new novel had a new theme of "recovering destroyed humanity." However, the search for "humanity" in the two novels released after the write-off tends to be somewhat hasty at the end of the novel. The question of human nature, sin and forgiveness, is the next best thing to save as a way of life, rather than as a result of the intense inner agony and behavior of the characters within the narrative, and this also shows a sudden shift in religiousness at the end of the novel. Therefore, the romantic meaning of the superficial is superficial.

• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.264-279
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• 2023

The 50th anniversary of the UNESCO World Heritage Convention was in 2022. In order to reflect on the present and future of the meaning of World Heritage, this paper examines the development and changes of the UNESCO World Heritage system. After promulgating the convention in 1972, the UNESCO World Heritage system prioritized the protection of heritage sites in the world that were at risk due to armed conflicts and natural disasters to bequeath heritage to the next generation. In addition, the UNESCO World Heritage's emphasis on Outstanding Universal Value represents the particular culture of human beings formed during a certain period of time, and acts as a significant source of soft power in public diplomacy. The UNESCO World Heritage might be perceived as a shared heritage that has not only become a channel to understand various national values, but also an effective medium to convey one of UNESCO's main principles, that is, peacebuilding. However, the UNESCO World Heritage is now at the center of conflicts of heritage interpretation between many stakeholders related to invisible wars, such as cultural wars, memory wars, and history wars as the social, political, and cultural contexts concerning World Heritage have dramatically shifted with the passing of time. Paying attention to such changing contexts, this paper seeks to understand the main developments in UNESCO World Heritage's discourse concerning changes to the World Heritage Operation Guidelines and heritage experts' meetings by dividing its 50-year history into five phases. Next, this paper analyzes the main shifts in keywords related to UNESCO World Heritage through UNESDOC, which is a platform on which all UNESCO publications are available. Finally, this paper discusses three main changes of UNESCO World Heritage: 1) changes in focus in World Heritage inscriptions, 2) changes in perception of World Heritage protection, and 3) changes of view on the role of the stakeholders in World Heritage. It suggests new emerging issues regarding heritage interpretation and ethics, climate change, and human rights.

• Journal of Practical Agriculture & Fisheries Research
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• v.25 no.2
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• pp.12-19
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• 2023

This study conducted an experiment with EC 1.0ms/cm ratio and excellent soil conditions for germination in ICT-based ginseng process cultivation. The first growth survey was conducted before transplantation of ginseng 1-year roots grown by seeding ginseng in the process cultivation, conventional cultivation and a second growth comparison survey was conducted after 3 months of growth. In the results, it was confirmed that ginseng grown in the process cultivation grew more than in the field. As a result of comparing the contents of 11 ginsenosides of 1-year and 2-year-old ginsenosides in the process cultivation and conventional cultivation ginseng, it was confirmed that the content of the process cultivation ginseng was higher than that of practice cultivation ginseng. In conclusion, conventional cultivation ginseng grows due to various factors under the natural cultivation environment, but process cultivation can secure the growth stability of ginseng by allowing stable soil and environmental control, so continuous research is needed in the future.

• (The) Research of the performance art and culture
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• no.39
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• pp.457-507
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• 2019

The purpose of this study is to explore the formal and content features of the material for the Changgeuk album , which was produced and released in 1971. Changgeuk album was produced and published as a headword for "Changgeuk". However, it differs from the style of Changgeuk which is treated as a stage drama in that the narrative is developed around the commentary and dialogue in the formal aspect and the Pansori is only partially used. The styles of Changgeuk, implemented through gramophone record, radio broadcasts and television broadcasts, varied widely, unlike those of Changgeuk established in the 1930s. Pansori music wasn't the only center, and traditional performers weren't even the main members of the play. The characteristic form of the Changgeuk album is an experiment of Changgeuk that emerged naturally with radio reading and the advent of radio dramas in the 1950s and 1960s. So it is necessary to pay attention to the Changgeuk album in that it shows diverse forms of experiments conducted by Changgeuk in the newly introduced culture and media in the middle and late 20th century As for the contents of the Changgeuk album , the work embraces Lee Jong ik 's novel (1957), but develops the narrative centering on the life of Saint Sa-myung(四溟大師). And it is faithfully portraying the life of a Buddhist monk and the national salvation hero who pursued the original work. This content composition can be understood in the will of singer Lee Yong bae, the soundman who produced the album, and in the flow of historical dramas that summon the historical hero of the old country of the time to the stage. Singer Lee Yong bae reflects on his life in the past when he was full of greed and conceit through his life as a monk of Saint Sa-myung(四溟大師) and is greatly impressed by the personal aspect of Saint Sa-myung(四溟大師), and these emotions encouraged his creative will. Also, the Changgeuk record is meaningful in that it is one of the specific materials that embodies the national hero as a record and a traditional play under the discourse of the people, the nation in the 1970s.

• (The) Research of the performance art and culture
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• no.39
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• pp.69-96
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• 2019

North Korea has conserved operas in a selective manner. The subject matters of operas recorded in the history of North Korea can be divided into classical tales, translated foreign works, Korean War and war against Japan. Operas that adapted folk classics of the 1950s are considered valuable materials to verify the changes of genres posterior to division of regime between North and South Korea. The officially confirmed works include "Kumgangsan Palseonnyeo (Gyeonwoo Jiknyeo)," "Chunhyangjeon." "Kongjwi Patjwi (Kotsin)," "Ondal," and "Geumnaneui Dal." These works had gone through recreation in terms of realistic situation setting, abolition of class difference, adjustment of social rank and punishment of evil while the base lies in the original folk classics. People emphasized in adapted folk operas are described as those who are hard-working souls without giving importance of difference of social rank, content with the currently living space, devoted to their parents and full of patriotic spirit, and members of community who participate in organized fights against unfair exploitation. This was the fruit of encouragement of work creation supporting union between labor and individual life, destruction of old things and fight promoting this destruction. Folk operas of South and North Korea posterior to Korean War have similarities in that both deal with a love story transcending social ranks and the concomitant conflicts and they focus on the audience who enjoy the operas. Nonetheless, they are different in that this love in North Korea became a tool of educating people wished by the regime, while it became an object of securing the audience by adding the tragic element to love in South Korea. North Korean operas of the initial stage are characterized by playwriting method emphasizing difficult life and compensation of common people, realistic stage expression, accentuation of melody and agreement between notes and lyrics. This was efforts designed to continuously lead senses concentrated from the theater to everyday life of people. In effect, this is in line with the playwriting method of revolutionary operas. Adapted folk operas were subject matters ideal for easily approaching the audience and leaving them good memories at the same time. To realize socialist realism, they went through an experiment of reviewing "people" through the classic folk operas. The possibility of continuation of a work was determined by thorough evaluation after carrying out an experiment in terms of subject matters, theme, music and operation plans from the moment of which the work was on the stage. The sign consisted in the possibility of visit of "Kim Il-sung" to appreciate the work and presentation of directionality. By proposing the clear directionality of which hard-working people who deny social status system can be duly compensated, it encouraged the audience who saw the opera to voluntarily put this in practice. Thus, operas established the directionality through selective processes for creating public communion even before revolutionary operas.