• Journal of Ginseng Research
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• v.29 no.1
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• pp.1-18
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• 2005

Ginseng Radix, the root of Panax ginseng C. A. Meyer has been used in Eastern Asia for 2000 years as a tonic and restorative, promoting health and longevity. Two varieties are commercially available: white ginseng(Ginseng Radix Alba) is produced by air-drying the root, while red ginseng(Ginseng Radix Rubra) is produced by steaming the root followed by drying. These two varieties of different processing have somewhat differences by heat processing between them. During the heat processing for preparing red ginseng, it has been found to exhibit inactivation of catabolic enzymes, thereby preventing deterioration of ginseng quality and the increased antioxidant-like substances which inhibit lipid peroxide formation, and also good gastro-intestinal absorption by gelatinization of starch. Moreover, studies of changes in ginsenosides composition due to different processing of ginseng roots have been undertaken. The results obtained showed that red ginseng differ from white ginseng due to the lack of acidic malonyl-ginsenosides. The heating procedure in red ginseng was proved to degrade the thermally unstable malonyl-ginsenoside into corresponding netural ginsenosides. Also the steaming process of red ginseng causes degradation or transformation of neutral ginsenosides. Ginsenosides $Rh_2,\;Rh_4,\;Rs_3,\;Rs_4\;and\;Rg_5$, found only in red ginseng, have been known to be hydrolyzed products derived from original saponin by heat processing, responsible for inhibitory effects on the growth of cancer cells through the induction of apoptosis. 20(S)-ginsenoside $Rg_3$ was also formed in red ginseng and was shown to exhibit vasorelaxation properties, antimetastatic activities, and anti-platelet aggregation activity. Recently, steamed red ginseng at high temperature was shown to provide enhance the yield of ginsenosides $Rg_3\;and\;Rg_5$ characteristic of red ginseng Additionally, one of non-saponin constituents, panaxytriol, was found to be structually transformed from polyacetylenic alcohol(panaxydol) showing cytotoxicity during the preparation of red ginseng and also maltol, antioxidant maillard product, from maltose and arginyl-fructosyl-glucose, amino acid derivative, from arginine and maltose. In regard to the in vitro and in vivo comparative biological activities, red ginseng was reported to show more potent activities on the antioxidant effect, anticarcinogenic effect and ameliorative effect on blood circulation than those of white ginseng. In oriental medicine, the ability of red ginseng to supplement the vacancy(허) was known to be relatively stronger than that of white ginseng, but very few are known on its comparative clinical studies. Further investigation on the preclinical and clinical experiments are needed to show the differences of indications and efficacies between red and white ginsengs on the basis of oriental medicines.

• (The) Research of the performance art and culture
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• no.37
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• pp.5-31
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• 2018

The mask dance drama Goseong Ogwangdae's first act, Mundung Bukchum. The story is about a man who was born to the upper class but contracted leprosy, an incurable disease, due to his ancestors' accumulated sin. Although he is suffering, he is able to triumph over the disease through sinmyeong (catharsis) that is expressed through the wordless act of Mundung Bukchum. This thesis focuses on Goseong Ogwangdae's Mundung Bukchum, particularly the meaning, costume, accompanying music, and process of pedagogical transmission. The chronological characteristics of Goseong Ogwangdae's Mundung Bukchum are as follows. First, as time goes on, the number of dance motions in Mundung Bukchum has increased and the motions used have become reified. Second, I address the small barrel drum used in Mundung Bukchum and check how, through the drum, the changed expression of Mundung is shown.In a 1965 video introduced Mundung is grasping the drum and stick and the dance appears to be made up only of humorous motions. Also in a 1969 video, "Mundung Gwangdae," from the start Mundung is grasping the drum and stick. In 1988 in a video we can see the same scene as today, with the drum and stick sitting in the center of the stage at the start of the dance. We can also confirm that the same fourteen dance motions used today are present. Third, we can also confirm the changes in Goseong Ogwangdae's signature motion, baegimsae as time goes on. Observing the video from 1965, baegimsae does not appear in Mundung Bukchum. In 2000 we can clearly see the baegimsae performed once to the left and to the right while Mundung is squatting. Comparing 1969 to 1988, there is no symmetry in the motions, baegimsae is not done to both left and right, but only in one direction. Watching the record from 2000, the baegimsae motion is performed just as it is now, with the body thrown forward with a sharp push off the ground. Fourth I confirmed how the music used to accompany Goseong Ogwangdae's Mundung Bukchum has changed over time. In 1965 according to records of Mundung Bukchum's appearance, the dance was accompanied by the taryeong rhythmic pattern played on the usual four percussion instruments (barrel drum, hourglass drum, large gong, small gong). In the 1969 records of Mundung Bukchum the accompanying music is gutgeori rhythmic pattern performed on the usual four percussion instruments-an obvious difference. In 1988 the music with Mundung Bukchum is gutgeori rhythmic pattern transitioning into jajinmori rhythmic pattern. In 2000 the music with Mundung Bukchum includes the percussion instruments as well as taepyeongso (double reed oboe) playing gutgeori and jajinmori rhythmic patterns.

• Cross-Cultural Studies
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• v.48
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• pp.193-222
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• 2017

In this study, I examined the relationship between the pattern of Tungp'o (東坡体)'s characters play, Paza(破字) and Nanji(難字), Iruiimyo(異類異名) the Chinese characters play, developed in the Edo period in Japan. I found out the following. First, Nanji and Iruiimyo's method of Chinese character transformation is like Tungp'o(東坡体)'s characters play and Paza(破字), that is to make an analysis of Chinese character. For example, to extend or shorten to character's length, and to increase or reduce the character's size. And, I also found out there is no block type characters play in Nanji and Iruiimyo. Second, I also found that the similarity of the method of Chinese character transformation between the pattern of Tungp'o(東坡体)'s characters play, Paza(破字) and Nanji(難字), Iruiimyo(異類異名). The method of to flip character (180 degrees) and to letting character lie down (90 degrees) is very similar each other. But there is no method to make incline of character (45 degrees) in Nanji and Iruiimyo. Third, I found that the method to extract part of character also exists in Chinese and Japanese characters play. And, I also found that the method to decompose characters in half from the pattern of Tungp'o(東坡体)'s characters play, but I can't find this method from Nanji and Iruiimyo. To decompose characters in half is very like the method of paja. So, we can understand that Nanji and Iruiimyo is located in the middle stage of the pattern of between Tungp'o(東坡体)'s characters play and Paza(破字).

• Cross-Cultural Studies
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• v.53
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• pp.163-192
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• 2018

The purpose of this paper was to examine universal dependency UD application cases of Korean and Japanese with similar morphological characteristics. In addition, UD application and improvement methods of Korean were examined through comparative analysis. Korean and Japanese are very well developed due to their agglutinative characteristics. Therefore, there are many difficulties to apply UD which is built around English refraction. We examined the application of UPOS and DEPREL as components of UD with discussions. In UPOS, we looked at category problem related to narrative such as AUX, ADJ, and VERB, We examined how to handle units. In relation to the DEPREL annotation system, we discussed how to reflect syntactic problem from the basic unit annotation of syntax tags. We investigated problems of case and aux arising from the problem of setting dominant position from Korean and Japanese as the dominant language. We also investigated problems of annotation of parallel structure and setting of annotation basic unit. Among various relation annotation tags, case and aux are discussed because they show the most noticeable difference in distribution when comparing annotation tag application patterns with Korean. The case is related to both Korean and Japanese surveys. Aux is a secondary verb in Korean and an auxiliary verb in Japanese. As a result of examining specific annotation patterns, it was found that Japanese aux not only assigned auxiliary clauses, but also auxiliary elements to add the grammatical meaning to the verb and form corresponding to the end of Korean. In UD annotation of Japanese, the basic unit of morphological analysis is defined as a unit of basic syntactic annotation in Japanese UD annotation. Thus, when using information, it is necessary to consider how to use morphological analysis unit as information of dependency annotation in Korean.

• (The) Research of the performance art and culture
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• no.36
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• pp.75-102
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• 2018

Manjungpan Chunhyangga is established by Manjung Kim Sohee. She selectively chose and arranged the songs by Jung Jungryeol, Song Mangap, Jung Eungmin, Kim Yeonsoo, Park Dongsil, and Jung Kwangsil. Kim Sohee once stated that while a major section of Chunhyangga is based on the songs by Jung Jungryeol, Song Mangap, Jung Eungmin, and Kim Yeonsoo, the whole part of Okjungga is derived from Park Dongsil. However, there is not much material that will provide enough information with regard to what musical characteristics Park Dongsilje Chunhyangga possessed. Under the circumstances, the voice of Park Dongsilje, left by Kim Sohee, triggers curiosity on Park Dongsilje Chunhyangga. It can also be construed that there must be a good reason for choosing Park Dongsilje for Okjungga, unlike other parts. Therefore, this paper attempted to find out what the unique features of Par Dongsilje are and what the reasons behind Kim Sohee's musical choice were through comparison and analysis of Kim Sohee's musical features in Okjungga. The following are the results. Firstly, Okjungga is a created verse by its nature and it does not possess specific features to a school. Therefore, the reason for choosing Park Dongsilje could have been based on musical reason rather than verse. Secondly, the lyrics of Park Dongsilje Okjungga is closer to that of Song Mangap rather than that of Jung Jungryeolje. It can be argued that it falls between the two of them. Thirdly, the tone and melody of Park Dongsilje Okjungga falls in the middle section of Dongpyenje and Supyenje. Fourthly, the analysis of Jinyangjo rhythm out of the whole Manjungpan Chunhyangga shows that there are slight differences among Song Mangapje, Jung Jungryeolje, and Jung Eungminje. Park Dongsilje is very unique in the sense that it does not use utbutim in gyemyeonjo part in Manjungpan Chunhyangga. Park Dongsilje Okjungga is a song to which the tone, melody, and sigimsae of Supyeonje is added to lyric butimsae of Dongpyeonje. It can be seemed as simple and less sophisticated because, with its simple lyric butimsae, it shows a less complicated tone utilization rather than Jung Jungryeol. With lighter decoration of music, feelings can be conveyed more directly. That is probably why Kim Sohee commented on Park Dongsilje Chunhyangga that it is the most mournful song for Chunhyang and it is the song that moves anyone who listens to the song. Consequently, Kim Sohee accepted Park Dongsilje Okjungga and she created different feelings to Manjungpan Chunhyangga which has repeatedly displayed the color of Jung Jungryeol. Combining the lyric addition of Dongpyeon style and the melody of Supyeon style can crated a different language.

• Economic and Environmental Geology
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• v.54 no.3
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• pp.373-387
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• 2021

In this study, the impact of clustered groundwater usage facilities and the proper amount of groundwater usage in the Daejeong-Hangyeong watershed of Jeju island were evaluated based on the data-driven analysis methods. As the applied data, groundwater level data; the corresponding precipitation data; the groundwater usage amount data (Jeoji, Geumak, Seogwang, and English-education city facilities) were used. The results show that the Geumak usage facility has a large influence centering on the corresponding location; the Seogwang usage facility affects on the downstream area; the English-education usage facility has a great impact around the upstream of the location; the Jeoji usage facility shows an influence around the up- and down-streams of the location. Overall, the influence of operating the clustered groundwater usage facilities in the watershed is prolonged to approximately 5km. Additionally, the appropriate groundwater usage amount to maintain the groundwater base-level was analyzed corresponding to the precipitation. Considering the recent precipitation pattern, there is a need to limit the current amount of groundwater usage to 80%. With increasing the precipitation by 100mm, additional groundwater development of approximately 1,500m³-1,900m³ would be reasonable. All the results of the developed data-driven estimation model can be used as useful information for sustainable groundwater development in the Daejeong-Hangyeong watershed of Jeju island.

• Journal of Korea Port Economic Association
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• v.37 no.3
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• pp.117-128
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• 2021

In order for the users (shipping firms and shippers) and suppliers (stevedoring firms) in the container terminal industry to win-win, it is necessary to have some appropriate diverse market conditions for the industry. This study analyses the basic conditions and demand and supply characteristics of the industry and investigates the market performance of Busan container ports. First, this article analyses the basic characteristics of demand and supply. As the demand characteristics, there are five ones such as 1) exogeneity of demand, 2) function as export/import transportation and hub for transshipment, 3) increase of users' bargaining power, 4) high substituting elasticity, 5) reduction of volume growth. As the supply characteristics, there are seven ones such as 1) inelasticity of supply, 2) homogeneity of stevedoring services, 3) over-supply, 4) adoption of cutting-edge stevedoring technology, 5) scale economy and impossibility of storage, 6) labor market rigidity, 7) enhancing port's role in SCM. In addition, this study conducts the so-called structure-conduct-performance analysis. For the structure analysis, 1) lacks of scale economy in stevedoring companies, 2) high entry barrier, 3) strengthening of shipping firms' bargaining power, 4) transitory permission scheme for tariff are analyzed. For the conduct analysis, 1) price discrimination between export/import and transshipment, 2) mid-term length of terminal use contract, 3) continuous investment in equipment, 4) low level of cooperation among terminal operating firms are derived. For the performance analysis, 1) inequality in profitability, 2) reduction of export/import cost, 3) delay in adopting cutting-edge technology, 4) idle equipment are analyzed. Following this logical flow, the hypothesis that the market structure influences the market conduct is tested based on the actual dataset. As a future agenda in the conclusion, this article recommends the so-called port industrial policy.

• The Journal of Engineering Geology
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• v.32 no.4
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• pp.697-723
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• 2022

Data-driven models to predict groundwater levels 30 days in advance were developed for 12 groundwater monitoring stations in the middle-Jeju watershed, Jeju Island. Stacked long short-term memory (stacked-LSTM), a deep learning technique suitable for time series forecasting, was used for model development. Daily time series data from 2001 to 2022 for precipitation, groundwater usage amount, and groundwater level were considered. Various models were proposed that used different combinations of the input data types and varying lengths of previous time series data for each input variable. A general procedure for deep-learning-based model development is suggested based on consideration of the comparative validation results of the tested models. A model using precipitation, groundwater usage amount, and previous groundwater level data as input variables outperformed any model neglecting one or more of these data categories. Using extended sequences of these past data improved the predictions, possibly owing to the long delay time between precipitation and groundwater recharge, which results from the deep groundwater level in Jeju Island. However, limiting the range of considered groundwater usage data that significantly affected the groundwater level fluctuation (rather than using all the groundwater usage data) improved the performance of the predictive model. The developed models can predict the future groundwater level based on the current amount of precipitation and groundwater use. Therefore, the models provide information on the soundness of the aquifer system, which will help to prepare management plans to maintain appropriate groundwater quantities.

• (The) Research of the performance art and culture
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• no.41
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• pp.133-156
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• 2020

This is a paper that examines the meaning and changes of how Dalgang Song, a parenting song, is accepted in pansori works and how it plays a role in the narrative of the work. In Chapter 2, Compared the lyrics of Dalgang-Dalgang in actual parenting scene and Dalgang-Dalgang in Pansori's work. As a result, the songs in Pansori, show some differences in lyrics, but most of them kept the narrative structure intact. Among them, Gangreung-maehwa-ga maintained the phrase "Dalgang-Dalgang" in front and back, making the least changes. Simcheong-ga and Jeokbyeok-ga maintained their epic structures, but the the front and the rear phrase turned into a "Uh huh, Doong doong". And Dalgang-Dalgang was sung mostly by its mother or grandmother at the actual parenting scene, but the song in Pansori, was all sung by men. Dalgang song in Pansori, had a mostly Gyemyeon melody due to the genre characteristics of Pansori. Also Dalgang-Dalgang for actual parenting, was sung with a leisurely, soft beat. But Dalgang song in Pansori's works were sung rhythmical with Jungjungmori rhythm or Jajinmori rhythm to maximize joy. In Chapter 3, I discussed the roles and meanings of Dalgang song contained in Pansori. Dalgang-Dalgang of Simcheong-ga appeared in the crucial process of Sim Hak-kyu's return to will of life through Simcheong after the death of his wife. In Jeokbyeok-ga, Dalgang song also appeared as a tool to recall the happy memories with his son. On the other hand, Dalgang-Dalgang of Gangreung-maehwa-ga played a role of expressing affection for relationships between men and women, not between parents and children. This is beyond the original meaning of parenting, which means the hedonistic and excessive affection of Mr. Gol. The desire to change a relationship between a man and a woman into between parents and children is also found in Kim Yeon-soo's Chunhyang-ga. This change is an example of how the role and meaning of Dalgang song has changed dramatically as it was inserted into pansori. And the reason why Dalgang-Dalgang was so important in the narrative of Pansori was because of The lyrics of the song contain the love of the baby.

• (The) Research of the performance art and culture
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• no.39
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• pp.415-455
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• 2019

This paper aimed to clarify the identity and category of the Jeong Jeongnyeol-je Chunhyangga from the perspective of the pansori transfer, while revealing the trajectory of Jeong Jeong-ryeol-je Chunhyangga, which remains in the modern pansori. Jeong Jeong-ryeol's Chunhyangga pansori part has been handed out to date, and except for the love song section, the pansori section, which corresponds to the love-separate-suffering-reunion paragraph, is almost complete. In the case of "Lee Doryeong enters Dongheon," "Hwangneungmyo song," and "The royal secret inspector visits Chunhyang's house to console her", there is a difference in pansori rhythm compared to Chunhyangga, which is currently held. "Why Yi Doryeong came to Chunhyang's House" is used in the form of an Aniri in the current Chunhyangga and "Chunhyang is treated as a virtuous woman in Namwon" is the only one included in Park Rokju's Changbon. "The royal secret inspector gathers people of Namwon to give a feast" is a new part that is not found in Chunhyangga, which is now being held, and can be seen as the Changgeuk sori of pursuing theatrical fun. On the other hand, this paper confirmed that the period between 1936 and 1937, when the Joseon Traditional Vocal Music Group actively performed Changgeuk and the record companies released a series of Changgeuk records, such as and , was an important time for the re-establishment of the Jeong Jeong-ryeol-je Chunhyangga, and that the Chunhyangga of those who had learned it before 1936-1937 was different from those who had learned it after that period. The preceding group includes Park Rok-ju, Kim Yeo-ran and Kim So-hee, while the latter group includes Kim Yeon-soo, Jung Kwang-soo, Park Dong-jin, Jung Kwang-soo and Kang Do-geun. In addition, except for Kim So-hee, these two groups are divided by the time they have learned Jeong Jeong-ryeol-je, whether they inherit the Jeong Jeong-ryeol-je from beginning to end, and by the gender of male and female singers. In teaching his pupils, Jeong Jeong-ryeol chose to use the "old-fashioned pansori" teaching method with impromptu plate-making in mind and the "modern pansori" teaching method with stereotyped sounds in mind. As a result, there were two aspects of Jeong Jeongryeol-je Chunhyangga's succession: a female singer-centered succession, which was held as learned from beginning to end, and a male singer-centered succession, which was held differently depending on the pansori schools or versions.