• Journal of Korean Society of Forest Science
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• v.1 no.1
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• pp.12-21
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• 1962

Outdoor cuttings studies on two coniferous species, pitch pine and needle fir, have been made at Suwon, Korea extending from March to early May, 1956. The purpose of these studies was to find the effects of ages of parent trees, topophysis, dilute hormone solution treatments and the time at which the cuttings were collected on the rooting response of the cuttings. On September 2, rooting results were examined. Pitch Pine (Pinus rigida) The total of 1335 cuttings were collected from 3- and 10-year old trees. The cuttings treated were planted on March 13 and April 20. 1. In the cuttings collected from 3-year-old seedlings, the best result (34 percent rooted) was obtained by treating ends of cuttings with a mixture of 50 ppm IBA and 50 ppm NAA. 2. No rooting was observed in lammas shoots. 3. The cuttings from 3-year-old seedlings gave better rooting than those from 10-year-old trees. 4. The root origins were developed from the lower part of the cutting and the cut surface. Needle fir (Abies holophylla) One hundred twenty-five cuttings were collected from a 30-year-old tree. The cuttings treated with any one of four mixed hormone solutions were planted on March 23. 1. Fifteen cuttings out of 75 cuttings from the lower half of the crown were rooted. The cuttings obtained from the upper half of the crown did not root at all. 2. The cuttings treated by the hormone solution made up of 20 ppm IAA, 20 ppm IBA, 20 ppm NAA, 20 ppm thiamine and 5 percent sucrose gave the best rooting (22 percent). 3. All roots originated from callus tissues and irregularly arranged parenchymatous tissues near the cut base.

• Proceedings of the Korean Institute of Electrical and Electronic Material Engineers Conference
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• 2007.11a
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• pp.228-228
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• 2007

전력선 통신용 비접촉식 커플러는 고속형(2~30 MHz)과 저속형(100~450KHz)으로 나누어 볼 수 있는데, 고속형은 현재 국내에서 독자적으로 개발되어 다양한 모델이 적용되고 있는 상황이지만, 저속형은 시작품수준으로 제조되어 있으나 신호전송 특성의 향상절구가 필요한 상황이다. 전력선 통신용 커플러는 전력선 또는 모뎀으로 통신신호를 전달하는 기능을 하는 것으로서, 전력선 통신을 위한 핵심부품이다. 따라서 본 연구에서는 100~450 KHz 대역에서 사용 가능한 저속형 비접촉식 커플러를 제조하기 위해, 권선조건, 대전류형 자심재료의 모의 해석, 노이즈 필터조건, 임피던스 매칭, 하우징방법 등의 각 공정 변수를 확립하고자 하였다. 자심재료의 모의해석에서 자심재료의 높이와 전력선 도체 단면적 변화는 자심재료의 전류포화특성에 영향을 미치지 않으며, 유효길이와 에어-갭 크기가 증가할수록 전류포화특성은 향상되는데, 자심재료의 내경이 64 mm일 때 자심재료의 폭((외경-내경)/2)은 15 mm 이상이어야 하고, 에어-갭은 약 $600\;{\mu}m$ 정도의 에어-갭을 형성시켜야함을 확인할 수 있었다. 또한 저속용 비접촉식 커플러 제조조건 실험에서 내경${\times}$외경${\times}$높이가 $64{\times}94{\times}140mm$인 자심재료를 이용하여 권선 수와 에어-갭을 각각 3회, $400{\sim}600\;{\mu}m$ 삽입했을 때, 가장 우수한 특성을 나타내었다. 그리고 저역 통과 필터를 출력부에 내장하여 통신신호 이외의 노이즈를 제거할 수 있었다. 본 연구에서 제조된 300 A급 지중선용 저속형 비접촉식 커플러는 내경${\times}$외경${\times}$높이가 $58{\times}1144{\times}158mm$이고, 100~450 KHz 통신대역에서 약$7{\pm}2dB$의 삽입손실을 나타내었다.

• (The)Study of the Eastern Classic
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• no.70
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• pp.157-183
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• 2018

Mokjae Lee Samhwan's "MaengHoEum" is the three poems of the Chinese quatrain of 5word 7poetry created according to the previous age. This poem is distinguished from the poem of the general "MaengHoHaeng" series because of it was created in the form of modern-style poetry of series, not a poetry of 5word or 7word or length phrase in a poem. The "MaengHoEum" of MokJae seems to have been built around 1801year when he was 73 years old. Therefore, his "MaengHoEum" can be called an allegory poetry or a society poetry and his poetry can be said that it was created under the criticism of the corrupt political power of the contemporary society, and the 'fierce tiger' which appeared in his poem refers to the factions of Noron Byek line which was the ruling power at that time. However, if you look at the "MaengHoEum" of MokJae, you will see a criticism of the real world, but the feeling is not intense or the description is not concrete. Although his poetry depicts the absurdity of the present reality, but he does not show positive criticism of reality or strong resistance. This characteristic, which can be seen in his poem "MaengHoEum", is the result of the study he pursued for the his life and is thought to be due to the weight of reality. The contradictions of the time of the Mokjae were never silent to him, but on the other hand he could not reveal his own struggle on the surface of the poem. Between his descendants, influenced by his actions, and the stinging gaze watching him, he had no choice but to end his feelings internally.

• Korean Journal of Veterinary Research
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• v.21 no.2
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• pp.105-112
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• 1981

The morphological and structural studios of Anisakinae larva has been carried out since Sept. of 1980. The larva were collected from naturally infested eleven swine of 1,531 examined at Kwang-Ju abattoir and from marine fishes, Somber japonicus, bought at Kwang-Ju fish market. The results observed were as follow : 1. Anisakis larva found in the stomach wall and on the surface of the mucosa were more or less degenerated. According to the progress of degeneration, the cross sections showed varied structures (Fig. 6, 7). 2. Size of the larva both from swine and fishes were measured respectively in average(mm); 18.0 and 18.7 in body length, 0.30 and 0.41 in body width, 1.64 and 1.68 in esophagus(muscular-part), 0.56 and 0.67 in ventriculus (glandular part), and 0.13 and 0.12 in tail. It was notable that body length of the larva in this present data, 18.0mm and 1.87mm, were shorter than those in previous dada, 24.3mm from human cases and 28.4mm from, however, the present data were almost similar to the data, 1.75mm, from swine case. 3. The Boring tooth, Mucron, long ventriculus and short round tail were observed in the larva of this present study. These structures were differentiated from Anisakis type II larvae which was provided with short ventriculus, and conical and tapering tall without mucron. 4. The ventricular appendix and intestnal caecum were not present in the larva. These might be differentiated from other Anisakidae larva such as Terranova larvae, Contracaecum larvae, Raphidascaris larvae and Thynnascaris larvae. 5. The findings through the histological observation were a pair of Y-shaped or butterfly-shaped lateal chords, ventral and dorsal chords, excretory(Renette) cell, high columnar epithelial cells of digestive tract and muscle cells. These morphological characteristics revealed varied features in the structures in the degenerative degree of the larva in the stomach wall. 6. The above-mentioned characteristics of the larva observed could be indentified as Anisakis type I larvae. 7. The reports on natural infestation of domestic animal with Anisakis type I larvae were two swine cases in Korea and Japan respectively, On the other hand two human cases of the larva were reported in Korea and more than one thousand cases in Japan. In Twiwan no reports of human and domestic animal cases could be found.

• Korean Journal of Soil Science and Fertilizer
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• v.29 no.4
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• pp.347-352
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• 1996

These experiments were conducted to monitor the change in $NO_3{^-}-N$ in a plastic film house where $NO_3{^-}-N$ have been accumulated in the soil of high level (about 370 mg/kg) The objective of this study was to obtain the information needed to establish the N Fertilizer recommendation based on the available N content in the soil for vegetable cultivation. The cultivated crops were chinese cabbage in the spring, lettuce in the summer, and chinese cabbage in the autumn. The crops were cultivated with and without N application. The concentration of $NO_3{^-}-N$ in the soil was analysed before and after the cultivation of each crop. When $NO_3{^-}-N$ in the soil is as high as 370 mg/kg. even without N application, the yield of the first season crop, cabbage in the spring was 175 ton/ha and that of second season crop, lettuce in the summer was 53 ton/ha. These yields were comparable with those obtained under the application of N fertilizer: meaning that no N application would be needed for those crops when $NO_3{^-}-N$ in the soil is as high as 370 mg/kg. The yield of third crop, cabbage in the autumn was higher under N application than that under no N application by 62%. The fate of $NO_3{^-}-N$ in the soil differed along with the crop sequence. In the first crop, 14.5% was absorbed by crop, 25.4% remained in the soil and 60.1% was unaccounted for. In the second season, 25.3% was absorbed by crop, 51.8% remained in the soil and 22.9% was unaccounted for. In the third crop, 62.8% was absorbed by crop, 19.4% remained in the soil and 16.8% was unaccounted for.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.154-167
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• 2014

The results of this study conducted to identify the substance, regional characteristics or landscaping of Namwon Yonghogugok, which is the only valley of Jiri Mountain, based on Kim Samun's 'Yonghokugok-Gyeongseungannae(龍湖九曲景勝案內)', 'Yongseongji(龍城誌)' and position, meaning of letters carved and projection technique by ArcGIS10.0 on the rocks are as below. The feature landscapes of the canyon of Yonghogugok, which is an incised meander and one of the Eight beautiful scenery of Namwon, ponds, cliffs and rocks generated with metamorphic rocks and granites weathered by rapids torrents. As a result of measuring the GPS coordinates of the letters carved on the rocks, excluding the 3 Gok Hakseoam and the distances based on the origin and destination of the letters carved on the rocks using the API(Application Programming Interface) function of Daum map, the total distance of Yonghogugok was 3.5km and the average distance between the each Gok was 436.5m. It is assumed that Yonghogugok was designated by Sarim(士林) of the Kiho School(畿湖學派) related to Wondong Hyangyak(元洞鄕約) which is the main agent of Yonghojeongsa(龍湖精舍), the forerunner of Yonghoseowon(龍湖書院), between the late Joseon Dynasty and the early Japanese colonial era, in 1927. Its grounds are the existence of Yonghoyeongdang mentioned on 'Yonghojeongsilgi'(龍湖亭實記), records of 'Haeunyugo(荷隱遺稿)', 'Yonghopumje(龍湖品題)' of Bulshindang(佛神堂), 'Yonghojeongsadonggu Gapjachun(龍湖精舍洞口 甲子春)' letters carved on the rocks and 'Yonghogugok-Shipyeong(龍湖九曲十詠)' posted on Mokgandang of Yonghoseowon. Comprehensively considering the numerous poetry society lists carved on the stone wall of Punghodae(風乎臺), the Sixth Gok Yuseondae, its stone mortar, 'Bangjangjeildongcheon(方丈第一洞天)' of Bulshindang and Gyoryongdam(交龍潭), the Yonghoseokmun(龍湖石門) letters carved on the rocks, Yeogungseok adjacent to the First Gok and Fengshui facilities, centered on Yonghoseowon and Yonghojeong, Yonghogugok can be understood as a unique valley culture formed with the thoughts of Confucianism, Buddhism, Taoism and Fengshui. 'Yonghogugok-Gyeongseungannae' provides very useful information to understand the place name, called by locals and landscaping aspects of Yonghogugok in the late Joseon Dynasty. In addition, the meaning of "Nine dragons" and even though 12 chu(湫: pond) of Yonghogugok Yongchudong including Bulyeongchu, Guryongchu, Isuchu, Goieumchu and Daeyachu are mentioned on Yongseongji, a part of them cannot be confirmed now. Various place names and facilities relevant to Guryong adjacent to Yonghogugok are the core of the place identity. In addition, the accurate location identification and the delivery of the landscaping significance of the 12 ponds is expected to provide landscaping attractiveness of Yonghogugok and become very useful contents for landscaping storytelling and a keyword of storyboard.

• Journal of Korean Classical Literature and Education
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• no.34
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• pp.149-191
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• 2017

This study examines Korean language translations of traditional Chinese hansi in the 1910s and 1920s. In the $20^{th}$ century, many poets translated Chinese and Korean traditional hansi into Korean. In the early $20^{th}$ century, Korean language began to be used as a national public language. At that time, not only hansi but also poetry from several other languages had been translated into Korean. Choi Nam-sun in the 1910s and Kim So-woel, Kim Eok, and Lee Kwang-su in the 1920s translated Chinese traditional hansi, focusing on famous Dang dynasty poetry from Tu Fu and Li Bai, etc. Choi Nam-sun's translation in the 1910s aimed to consider poetry as a written literature. On the contrary, Kim So-woel, Kim Eok, and Lee Kwang-su believed that Korean modern verse literature should be songs as well as poetry, and their translations in the 1920s aimed to create songs as spoken literature by focusing on orality and universality. Though Korean is now the language, the literary history of hansi continues in modern poetry.

• Korean Journal of Heritage: History & Science
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• v.43 no.3
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• pp.208-241
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• 2010

This study was conducted to examine the chronology of Taesil Seokham(Taesil Stone Boxes) stored in Taesil of the Joseon Palace and classify the styles to discuss how these boxes have developed. By doing so, this study defined the archaeological styles of taesil seokhams in the chronological order. Although taesil seokhams are placed when taesil are first created, they do not have any texts engraved on them and it is difficult to gain information only from examining taesil seokham. However, Taejiseok(memorial stones buried in Taesil) and Agibi(gravestones buried in Taesil) were created along with taesil. These resources were examined and compared with literature records to find when each taesil seokhams was created. The critical elements to consider for the chronological arrangement were both the cover and container of the boxes and the transition of their style could be classified into four major stages. In detail, the Joseon Dynasty's taesil seokhams initially inherited the style of the Goryeo Dynasty to be formed into rectangular boxes. Through the transition of the mid and late 15th Century, the semi-circular cover with cylindrical container became the popular style in the late 15th Century. In the late 16th Century, the style of the previous period was further developed to add some decorative elements, such as projecting ornaments, but the ornaments were added for functional purposes rather than artistic purposes. However, the style went back to the semi-circular cover with cylindrical container in the early 17th Century. From the mid 17th Century, various styles appeared with ornaments only on the cover, cone-shaped cover with no ornament, or mortar-like container. However, a new style of cone-shaped cover with ornament emerged between the early and mid 18th Century and continued to stay until the mid 18th Century. In the mid 18th Century, the cover remained unchanged, but the container became a keyhole-shaped space with one side forming a "ㄷ" shape. However, in the late 18th Century, the most typical style of the semi-circular cover with cylindrical container reappeared to show that this is the most universal style. Last, in the mid 19th Century, the cover changed from semi-circular to rectangular with flat top. After this, the taesil seokhams began to disappear. In terms of style, it can be classified into four stages. In the early Joseon Dynasty, the taesil seokhams were underdeveloped and inherited the style of the Goryeo Dynasty (Stage I; 1401~mid-15C), but Joseon's unique style began to develop from the late 15th Century (Stage II; 1477~1641). After that, partial ornaments were added for adornment (Stage III; 1660~1754), but the typical style reappeared in the late 18th Century to finally degrade in the late Joseon Dynasty of the mid 19th Century (Stage IV; 1790~1874). This arrangement of style and chronology would greatly help archaeologists anticipate the time and owner of taesil seokhams even if only taesil seokhams are discovered without any records. * Tae(胎) : Placenta and umbilical cord * Taesil(胎室) : A facility(chamber) of burying Tae(胎) in rite when royal descendants are born.

• Korean Journal of Heritage: History & Science
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• v.45 no.4
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• pp.4-21
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• 2012

Jade ornaments, which include slit earrings, scoop-shaped objects and tubular beads have been extensively identified in Northeast Asia, such as Korea, China, Japan and the Maritime Province of Siberia. Among them slit earrings are distributed in the whole area of Northeast Asia. Although this object shows the typological differences in accordance with the excavated region in detail, all of them are characterised by the slit on the centre of jade ring. The buried context and the shape of this object suggest that this artefact was the earring; thus it is named to 'slit earring'. Most of slit earrings of the Neolithic Age concentrate in Northeast China and the areas south of the Yangtze River, and the Japanese Archipelago. However, unfortunately, Slit earrings, which were produced in the tradition of the incipient and early phases of the Neolithic Age in Northeast Asia, have not been excavated in the Korean Peninsula. The number of slit earrings reported so far is eight, and especially until the 20th century, almost none was reported with its exact excavation location and only three of them are known as excavated through surface surveys and preliminary excavations. However, from the beginning of the 21st century onwards, the number of discovered slit earrings is increasing. Particularly, five pieces of this object uncovered in the 21st century are discovered in the official excavation; thus the exact archaeological context such as buried locations and chronologies could be estimated. By considering the buried context, slit earrings are associated with stone axes, which were produced in the incipient and early phase of the Neolithic Age in the Korean Peninsula. In addition, considering the number of unearthed objects is a few, it could be postulate that slit earring was the artefact that only a few persons, who had a special role in the society, could possess. However, slit jade earrings that have been excavated in the Korean Peninsula are extremely low in their number compared to the cases of its neighbouring countries such as China and Japan, and the researches on this subject have not been much conducted in Korea. Therefore, it is my supposition that slit earrings, which have been discovered in the Korean Peninsula, might be the imported item from the nearby areas. Particularly, the Southern Coast was closely connected with Japanese Islands and the Eastern Coast was interchanged with Northeast China or the Maritime Province of Siberia. Considering that excavations and researches on the Neolithic remains in the Korean Peninsula have not been sufficiently and actively conducted, it could be expected that the further investigations and researches will reveal the sufficient quantities of slit earrings in near future.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.1-18
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• 2011

This study has been examined characteristics of Yeoju Lee family, rich group at Miryang in the middle of the Joseon Dynasty, around Geumsidang(今是堂) Lee Gwang-jin remains as a cultural landscape appeared in pictures, poetry, and a strange story. Geumsidang Lee Gwang-jin returned to his old home abandoned the middle government post after the death of Moonjeong queen in socially confused stage and tried to manage an annex to a Geumsidang located in Baekgok of Eungchun riverside, and Geumsidang he managed was affected by his teacher and uncle Wolyoun Lee Tae of a view of nature, filial behavior, and nature management etc. Also, 'Painting of 12 landscapes to Geumsidang' is landscape painting with the actual view not like the '8 landscapes of So-Sang' or '8 landscapes of Sa-Si' which is abstract landscape and Lee Gyeong-hong drew 12 landscapes of Geumsidang that includes Angbong(鶯峰: nightingale peak), Yongdu mountain(龍頭山), Mubong Buddhist temple(舞鳳寺), Maam mountain(馬巖山), Wolyeon-dae(月淵臺), Saindang village(舍人堂村), Youngnam-ru(嶺南樓), Miryang eubseong(密陽邑城), Eyeonso(梨淵沼: pear tree deep water), Yullim(栗林: chestnut tree forest), Miryang river(密陽江), Sammundong fields(沙門野), land and government office owned by Yeoju Lee family as landscape objects. 'Poems of 12 landscapes to Geumsidang' by Lee Yong-gu 11th sons of Lee Gwang-jin was written based on 'Painting of 12 landscapes to Geumsidang', and sang for time, season, and changes of the weather. All 12 poems are all a quatrain with seven Chinese characters in each line consisted of all 28 words, but does not match completely with shown elements in pictures because it is not a simple description of pictures but it is recreated by writer's personality. Therefore these painting shows not only th meaning of filial behavior but also village owned by Yeoju Lee family rich group in Miryang, and these poem recreated the pictures by changing as certain scenic spot with the object of enforcing territory of Yeoju Lee family.