• The Journal of Bigdata
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• v.6 no.1
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• pp.83-89
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• 2021

Lifestyle is changing rapidly, and food consumption patterns vary widely among households as dietary and food processing technologies evolve. This paper reclassified the food group of consumer panel data established by the Rural Development Administration, which contains information on purchasing agricultural products by household unit, and compared the consumption characteristics of agricultural products by age group. The criteria for age classification were divided into groups in their 60s and older with a prevalence of 20% or more metabolic diseases and groups in their 30s and 40s with less than 10%. Using the LightGBM algorithm, we classified the differences in food consumption patterns in their 30s and 50s and 60s and found that the precision was 0.85, the reproducibility was 0.71, and F1_score was 0.77. The results of variable importance were confectionery, folio, seasoned vegetables, fruit vegetables, and marine products, followed by the top five values of the SHAP indicator: confectionery, marine products, seasoned vegetables, fruit vegetables, and folio vegetables. As a result of binary classification of consumption patterns as a median instead of the average sensitive to outliers, confectionery showed that those in their 30s and 40s were more than twice as high as those in their 60s. Other variables also showed significant differences between those in their 30s and 40s and those in their 60s and older. According to the study, people in their 30s and 40s consumed more than twice as much confectionery as those in their 60s, while those in their 60s consumed more than twice as much marine products, seasoned vegetables, fruit vegetables, and folioce or logistics as much as those in their 30s and 40s. In addition to the top five items, consumption of 30s and 40s in wheat-processed snacks, breads and noodles was high, which differed from food consumption patterns in their 60s.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.3
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• pp.40-51
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• 2011

The purpose of the study was to understand the symbol and locational meanings in building and relocating Gwangje-jeong(光霽亭) through the analysis and interpretation on the construction background, history, the location and its characteristics. Concerning physical environment, human activities, the symbol and meanings of the formal Gwangje-jeong site and the present location, the study was concluded about the site and its meaning of tradition as following. Gwangje, the name of the pavilion, represents the fidelity of Maedang(梅堂) Yangdon(楊墩) who refused as Seonbee(a man of virtue) to be tainted with the corrupt world, which was related with the situation at that time. It implies Maedang's feeling of realizing Noojeongjeyong(樓亭題詠) of Gwangje-jeong along with the high spirit of Gwangpoongjewol(光風霽月). According to the record about rebuilding Gwangje-jeong, Maedang was the very person who planted plum flowers at the pavilion and put up the tablet of its name, Gwangje. Even after his death, Gwangje-jeong was the symbol indicating Yangdon, given the triple high ground and the planting of plum flowers. Also, Sookho(宿虎) town at the entrance of Gwangje-jeong and Bokhoam(伏虎巖: a rock) at the right side of the pavilion signifies the location for praising Maedang Yangdon, and the Yangjipha's Oensi(五言詩: five words verse) engraved on the rock gives a good description about the place, Agyesa that worshiped Yangdon. As Agye-Sa(阿溪祠) where Yangdon was worshiped and praised had been abolished in the 5th year under the Kojong's reign(1868), the spirit praising Maedang had finally been used for the relocation of Gwangje-jeong. Despite the relocation of Gwangje-jeong, the old Gwangje-jeong site has remained at least for 359years at Hucheonli, and its surroundings have maintained the name 'Gwangje' as the front place name morpheme, for example, 'Gwangje-jeong,' 'Gwangje Town,' 'Gwangje Bridge' and 'Gwangje Creek,' for symbolizing the praising of Maedang. Gwangje-jeong, as the center place of solidarity among Namwon Yang's family clan, has been able to maintain its symbol and meanings in spite of relocation, mainly because of the fellowship among the descendants, family clan and alumni who respected virtuous achievements of ancestors and shared the agony of the time. In addition, the symbolism has been preserved since the spirit of Gwangpoonjewol of Yangdon and his high character were cherished along with the spirit of Bongseon(奉先) that inherited and kept virtuous achievements of ancestors.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.28-37
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• 2011

In this study, the series-poem, Bihaedangsasippalyoung(48 poems for beautiful scene of Bihaedang), written by scholars of Jiphyonjeon for Bihaedang garden of Anpyung-Daegun(Prince Anpyung, 1416-1453), was analyzed focusing on scenery lexeme to interpret the meaning of scenery and gardening culture of Sadaebu(noblemen) during the first term of Chosun Dynasty. The study result is as followings. First, the subtitle of Sasippalyoung(48 poems) written by Anpyung-Daegun while he grew Bihaedang garden on the foot of Inwang Mountain showed repetitive nomativity comparing joining of yin and yang, such as life and form of animal and plan, time and space, meaning and symbolism, etc. Among scenery lexemes, 38 are represented plant and flowers, and 8 are represented gardening ornaments and animals. Second, the names of gardens were expressed as Wonrim, Jongje, Imchon(Trees and Ponds), or Hwawon(Flower garden), or also presented as Gongjeong(Empty garden), Manwon(Full garden), Jungjeong(Middle garden), Huwon(Backyard), Wonrak(Inner court), or Byulwon(Seperated garden) depending on density and location. In addition, there were pavilions and ponds, stepping stones and stairs, a pergola, a flat bench, flowerpots, an artificial hill, oddly shaped stones, wells, aviary, flower beds, or hedges. A gardener was called Sahwa(flower keeper), planting and gardening of garden trees were called Jaebae(cultivation), a pond island was called Boogoo(floating hill), and miniature landscapes were called Chukjee(reduced land). Third, willows were planted on the outdoor yard, and plum trees were planted in front of the library, which led to bamboo woods road. Peony, camellia, tree peony and crepe myrtle were planted on the inner court with mossy rocks, small artificial hills, glass rocks, flower pots. There were rectangular ponds, while breeding deer, dove, rooster, and cranes. Fourth, landscape elements were enjoyed as metaphysical symbolic landscape by anthropomorphism, such as (1) gentlemen and loyalty, (2) wealth and prosperity, (3) Taoist hermit and poetical life, (4) reclusion and seclusion, (5) filial piety, virtue, introspection, etc. In other words, the garden presented a variety of gardening culture appreciating meaningful landscape, such as investigation of things, reclusion and seclusion, and building orientation of a fairyland yearning eternal youth and Mureungdowon(Taoist Arcadia) by making a garden blending beautiful flowers and trees, with precious birds and animals. Fifth, there were many landscape appreciation schemes, such as Angkyung(looking-up), Bukyung(looking-down), Jeokyung(looking-under), Chakyung(bringing outer space into inside), Yookyung(flower viewing), Yojeong(walking around the garden enjoying flowers), Hwasaekhyangbyuk(flower gardening), and Garden appreciation enjoying landscape through time and seasons with different inspirations.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.99-107
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• 2011

This study is aiming to acquire data for enhancing genuineness of restoration through reviewing external and internal scenery of Baegun-dong Wonlim such as Baegun-dong 8 Objects of Scenery(pines, bamboos, chrysanthemum, orchid, maehwa blossom, magnolia, fiddle and crane) and 12 Scenic Spots and reviewing internal and external scenery of Baegun-dong Wonlim such as views and scenery for plantation. For Baegun-dong 8 Young which sang songs about scenic spots of Baegun-dong Wonlim it seemed that its head words were formed through borrowing rhyming words from caption of Baegun-dong Yuseogi(白雲洞幽棲記). Accordingly it seemed these scenery secured its status of Wonlim from the beginning. Particularly the words of fiddle and crane in 琴棋書畵(Geumgisuhha) implied that playing Komungo and brushwriting were firmly rooted as romantic pursuits of classical scholars of that time. In consideration of distance upto Okpanbong which is one of 12 scenic spots of Baegun-dong radius of outer circumference is estimated to be around 1.6km. From Okgpanbong, the epicenter, Sandagyeong, Baegokmae, Hongokpok and Pungdan etc. correspond to transitional space. And inner scenery was formed with hub of thatched cottages and bowers surrounded with chrysanthemums, poenies, rhododendron, Phyllostachys bambusoides, pines and upper and lower water paths. Thus it seemed there was scenic structure of centrifugal nature as well as of multiplicity. Forms of majority of water paths with residual structure found in the country have streamlined forms on the other hand Baegun-dong water paths have straight line which almost dominate inner gardens in terms of scale and forms thus revealing its extraordinary idea and design. In order to promote genuine restoration of Baegun-dong Wonlim it will be necessary to have consideration from standpoint of managing perspective to assure presentation of gradual scenery with elements of scenic objects for outer view among 12 Scenic Spots.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.14-27
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• 2011

The study reviewed the content and the meaning of the present Yeoju Palkyung(eight scenery) through analyzing and interpreting the Palkyung poems, old maps and paintings, and classic materials transmitted in Yeoju area, and investigated the transmission process. Although five scenes of the Yeoju Palkyungs illustrate abstract landscapes derived from the Sosang Palkyung, there are mixed with local sceneries showing famous historical ruins in the area and local life of the Yeogang(驪江: river). Seunggyeong(勝景) of Yeoju, highlighted in old paintings, has been emphasized through duplication the object and the view point field of Yeoju Palgyeong(驪州八詠), which is usually symbolized to sailing boats along the Yeogang, forests around Cheongshimru, and the layer Jeontap and Maam above Shinreuksa(神勒寺) Dongdae(東臺). It is quite undoubtful that the Yeoju Palyong of Choi Sukjeong and Seo Geojung is the copy of the present Yeoju Palkyung, but the present version is found to be all included in the Cheonggijeongsipyoung(淸奇亭十詠) of Cho Moonsu since the 17th Century, which shows that the Cheonggijeongsipyoung is viewed that it played an important role for the transmission of the Yeoju Palkyung. Also, it. is concluded that the Yeoju Palyong recorded in Yeojidoseo(與地圖書) is the same landscape collecting with the presend Yeoju Palkyung, which would be dated back at least until the mid 18th Century. In addition, given the fact that the studied old maps show Eight scenery, Sachoneohwa, Shinreukmojong, Yeontanguibum, Paldaejangrim, Yangdonagan, Ibanchungam, Pasagwau, and Yongmoonjeukchui, recorded consistently in the same time order, the eight scenic points in the old maps had been apparently established as the typical copy of the Yeoju Palkyung in the 18th Century. Therefore, the transmission route of the Yeoju Palkyung follows two separate versions, one starting from the Yeoju Palyong(Choi Sukjeung, Seo Geojeong) to Cheonggijeongpalyong to Yeoju Palyoung(Yeojidoseo) to the present. Yeoju Palkyung, and the other from the Yeoju Palyoung Geumsa Palyong(金沙八詠) to the old map Palkyung to the Yeoju Palkyung(the late 18th C). These two transmission processes have their own cultural sceneries having the same origin, which are different only in perspective which attempts to cover the representative scenic landscapes including Yeoju and Geumsa.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.90-104
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• 2011

This study identified the scenic characteristics in Gugok and symbolism reflected in titles of the scenery of the season in Gugok from a perspective of Sundoism concentrated on Galeun Gugok in Goisan which is influenced most greatly by Sundoism hermit ideas in Korea, along with Seonyudong-Gugok. In addition, it suggested a measure for arrangement and narrative Storyboard of Galeun Gugok structure corresponding with promotion and propagation of Gugok cultural scenes and educational goals. According to analysis and interpretation of the various Gugoks forming Galeun Gugok in terms of their titles, names engraved in surrounding elements and the coherent symbolic meanings of its scenery and place through comparison with secenery of near Seonyudong-Gugok, the result shows that Galeun Gugok comprises wishes for eternal life in the forms of Taoist hermit-related scenery of the season within the range of stream and old stories based on environmental affordance. In figurative way, it ultimately presents the Wonyung(圓融) idea which seeks a harmonious combination of God and humankind. In particular, consciousness of longevity without problems is deeply inherent in the background of eternalness of plants, divinity of animals and natural homeostasis. Also, 9 Gok Seongukam set up at visual terminal reflect noticeably that a game Go is the amusement of the immortals, which describe 9 ranks of GO figuratively. Galeun Gugok is formed in a unity structure, which is hermit-oriented Sundoism and motif, such as longevity and immortality, divinity and enjoyment of Sundoism hermit rather than used as a method to achieve taste for the arts or ethics. Given the fact, it presents eternal longevity and atmosphere of seclusion in very strong way. Development of spatial Storyboard structure based on this is interpreted as 'Entering the world of hermits(Introduction)'-'Looking the world(Development)'-'Living with hermits(Turn)'-'Becoming hermit(Conclusion).' Finally, the scenery image of Galeun Gugok presented in surface structure is based on beauty of the immortal land scenery as well as beauty of pre-achieved space in Gugokdongcheon and arranged the vertical narrative structure as divine space of 9 ranks of GO. Taking those into account, scenery story board of Galeun Gugok was suggested in accordance with a theme of 6 cuts; Gnagsun(降仙)-Sungyeong(仙境)- Sunyak(仙藥)-Sunhak(仙鶴)-Sunyu(仙遊)-Eunsun(隱仙). It is obvious that hermit which live an eternal life as a representative of Sundoism, should be the main motif of scenery planning in a filed of modem landscaping. Therefore, the most valuable component in designing Korean landscape must be the homeostasis of surrounding landscape which supports the characteristics of invariability and divinity of nature.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.4
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• pp.170-181
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• 2011

This Research will explore the meaning indicated in the landscape meaning and feature of literary group culture, focusing in Gurujeong(九老亭: pavilion for nine elders) and Samgaeseokmun(三溪石門: stone gate in three valleys) located in Dundeok-myun, Imshil-gun, and will seek to understand the implications by studying the cultural landscape spread out in the area. The place where Gurojeong and Samgaeseokmun is located is the meeting point of the three valleys, Dunnam stream, Osu stream, and Yul stream, which is the main location to view the beautiful scenery, which has the nickname as the dwelling place of a celestial being. Especially, based on the description of old maps, "Samgae(three valleys)" and "Samgaeseokmun" possesses significance as a landmark and shows a characteristic feature of landscape structures of low hills. Dangugurohwe(丹丘九老會: nine elders gathering on the dwelling of a celestial being) originated from Hyangsangurohwe(香山九老會: gathering of nine elders on a fragrant mountain), where Baekgeoi(白居易) of China was one of the main people. This group was organized by nine elders over the age of 60 desiring to view the scenery of Doyeonmyeong. The group enhanced the literary spirit on the low hill, erecting a tower, and enjoying the beautiful scenery changing every season with scholars from the same region. This phenomenon seems to have been formed upon the positive response to gatherings of elders, which were prevalent in the Joseon Dynasty. If the internal idea pursued by the group was "longevity," the external idea pursued can be summarized as "the spirit the respect for the elders." Naming the groups as 'Dangudae(place where the celestial being lives), Guseondong(valley of seeking a celestial life), Bangjangsan(mountain of a high priest), and Daecheondae(place of communicating with God) was likely a device to introspect oneself and symbolize one's life process. Furthermore, the reason Samgaeseokmun, which is an imitation of Choi, Chiwon's work, was built near Soyocheo, was probably to yearn the celestial land and based on the desire to follow Choi, Chiwon, who was the most self-fulfilling being presumed to have become a celestial being by practicing the pursuit of freedom, escaping from the reality. After tracing the symbolizing meaning of the four letters carved in the left side of the stone wall of Dangudae, the conclusion that this place was not only a place for literary gatherings of the nine elders of Saseong(four families), but was a place where the celestial being dwelled could be inferred. Corresponding with Dangudae and Gurojeong, which are places where the order of human and nature is harmonized and where its meaning associated with the location intensifies, arouses strong bond, can be said to be the symbol of the traces of celestial beings where the spirits of attachment to a certain place is embedded. The acts performed in Dangugurohwe were those of traditional leisure including strolling, viewing the scenery, drinking, composing poems, and playing instruments, and sometimes listening to stories, tea ceremony, prayers, and fishing were added, which indicates that the gathering had a strong tendency towards pastoral and hermit life.

• Applied Chemistry for Engineering
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• v.22 no.5
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• pp.532-539
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• 2011

The physical and chemical properties of the dried low rank coals (LRCs) before and after the surface treatment using ozone and ammonia were characterized in this study. The contents of moisture, volatiles, fixed carbon and ash consisting of dried LRCs before the surface treatment were about 2.0, 44.8, 44.9 and 8.9%, respectively. Also, it was composed of carbon of 62.66%, hydrogen of 4.33%, nitrogen of 0.94%, oxygen of 27.01% and sulfur of 0.09%. The dried LRCs was surface-treated with the various dry methods using gases such as ozone at room temperature, ammonia at $200^{\circ}C$ and then the dried LRCs before and after the surface treatment were characterized by the various analysis methods such as FT-IR, TGA, proximate and elemental analysis, caloric value, ignition test, adsorption of $H_2O$ and $NH_3-TPD$. As a result, the oxygen content increased and the calorific value, ignition temperature and the contents of carbon and hydrogen relatively decreased because the oxygen-contained functional groups were additionally generated by the surface oxidation with ozone which plays a role as an oxidant. Also, its $H_2O$ adsorption ability got higher because the hydrophilic oxygen-contained functional groups were additionally generated by the surface oxidation with ozone. On the other hand, it was confirmed that the dried LRCs after the surface treatment with $NH_3$ at $200^{\circ}C$ have the decreased oxygen content, but the increased calorific value, ignition temperature and contents of carbon and hydrogen because of the decomposition of oxygen-contained functional groups the on the surface. In addition, the $H_2O$ adsorption ability was lowered bucause the surface of the dried LRCs might be hydrophobicized by the loss of the hydrophilic oxygen-contained functional groups. It was concluded that the various physico-chemical properties of the dried LRCs can be changed by the surface treatment.

• (The) Research of the performance art and culture
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• no.35
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• pp.405-439
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• 2017

In this article, I suggest issues and tasks in transmission of Gyeonggi Province folk songs after thorough study of designation of Gyeonggi Province folk songs as intangible cultural asset, reproduction and transmission. Intangible cultural assets are classified into seasonal playing and songs. Originally, category or extension of folk songs is above mere songs and it also embraces personal lives as well as village communities. Intangible assets of folk songs are folk art, group events and non-stage events at the same time based on tradition, history, uniqueness, characters of field value. Gyeonggi Province has 9 intangible assets now because of the revocation of several assets (All Gyeonggi Province, Hwasung, Gwacheon) within five years after initial designation of 13 assets in 1998. They are mostly distributed in the north Gyeonggi region where is close to the DMZ and delay in development seems to have enabled the preservation. Most of the intangible cultural assets are farming songs and weeding which show characteristics of Gyeonggi Province. Most of the designees are who performed excavation, recovery, excluding a few cases without designees on designation, and almost all the designee passed away. Number of cases have been revoked because transmission was not completed or some cases were transmitted to groups rather than specific designees. Subscription concert, the biggest and most representative event, is performed once a year with all of the 9 intangible cultural assets in the original complete forms of the designation. Intangible cultural assets are classified into seasonal playing and songs. In general, current performance of the intangible cultural assets and folk songs are same as the originally designated forms and are not in varied forms other than folk songs like songs for rice-planting and weeding. Funeral songs are transmitted in Yangju and Yangpyeong. In terms of the operation, preservation societies having training centers have been performing more constant activities for preservation including lecture, performance and transmission. Members are quite aged and the societies are suffering from lack of support fund for reproduction and transmission. Problems in reproduction and tasks for the transmission I would like to suggest are like followings. First, preservation and value of the cultural assets. Second, new understanding of designation and revocation of the intangible cultural assets. Third, record of performance and sound source. Fourth, liaison with local communities. Fifth, organization of professional resources and establishment of systematic support and management.

• The Journal of Korean Philosophical History
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• no.36
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• pp.319-352
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• 2013

This paper aims to compare Liang Shu-Ming and Lee Don-Hwa's perceptions of modernization and the philosophical grounds of their perceptions during the New Cultural Movement period in Korea and China. Although Liang and Lee had different levels of enthusiasm towards New Cultural Movement, they shared many commonalities in their attitudes to Western modernization and their philosophical justifications for such attitudes. Liang Shu-Ming not only held positive views of Western modernization, but also examined the spiritual dynamics contributing to the development in science and democracy in Western countries. By analyzing the three fundamental questions of life, three kinds of human attitudes toward life, three types of culture derived from human attitudes, and the recapitulation theory, Liang systematically reviewed the spiritual dimension of Western modernization. Liang defined the spirit of Western modernization as a calculative rationality based on egoism and the separation of Self and Other. Such a statement demonstrates Liang's keen insights towards Western modernization. Meanwhile, although Lee Don-Hwa basically held positive views of Western modernization, from the beginning, he pointed out the problems with Western modernization and attempted to overcome these problems by employing the "human is heaven" doctrine of Cheondogyo. While Lee embraced modern science and the theory of evolution, he also insisted on the legitimacy of mysticism and the compatibility of the creation theory of Cheondogyo and the theory of evolution. Although Lee employed the concepts in Western philosophy of life, he also emphasized the interdependence, reciprocal relationship, and connectedness between Self and Other from the perspective of Cheodogyo doctrine. From the fact that Lee Don-Hwa transcended the modernization theory when he was applying it to answer questions, it seemed that Lee preceded Liang Shu-Ming. Nevertheless, Lee did not demonstrate the keen insight into the spiritual dimension of Western modernization, and his criticism against Western modernization did not touch upon the problem of rationality as Liang did.