• Journal of Bio-Environment Control
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• v.27 no.1
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• pp.94-101
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• 2018

Mugwort (Artemisia princeps) is a medicinal plant that has a substance called euphatilin, which is effective for cell damage and gastritis recovery. The objectives of this study were to investigate the annual growth characteristics of Artemisia princeps in greenhouse and to increase the eupatiline content by environmental stresses. Growth and eupatilin content of the plants were compared after 6 weeks of seedling and subsequent 8 weeks of greenhouse cultivation. Photosynthesis of mugwort plants did not saturate even at a relatively high light intensity of $1,200{\mu}mol{\cdot}m^{-2}{\cdot}s^{-1}$. Growth rate of the plants reached its highest at two weeks after transplanting and began to decrease since 8 weeks after transplanting. The plants showed typical characteristics of a perennial herbaceous plant as they were sensitive to seasonal changes. In particular, the plants showed high growth and eupatilin content in spring and summer as vegetative growth periods, but flowering and wintering caused considerable decreases in growth and eupatilin content in fall and winter. Therefore, application of night interruption is essential for year-round cultivationof the plant. Two stresses and a elicitor were treated: drought stresses by stopping irrigation at 5, 6, 7, and 8 days before harvest; salt stresses with nutrient solution concentrations of 2, 4, 6, 8, and $10dS{\cdot}m^{-1}$ by adding sodium chloride at 3 days before harvest; and foliar applications of methyl jasmonates of 12.5, 25, 50, and $100{\mu}M$ at 3 days before harvest. Significant increase in eupatilin content was observed at drought stresses of 7- and 8-days of irrigation stop and foliar application of $25{\mu}M$ methyl jasmonate, while no significant increase observed at salt stresses. From the results, it was confirmed that the environmental treatments can improve the productivity and quality of Artemisia princeps as a phamaceutical raw material.

• Journal of KSNVE
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• v.7 no.1
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• pp.153-159
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• 1997

In a stiffened plate reinforced on one of its sides by beam type stiffeners, the asymmetry about the plate mid-plane induces coupling between flexural wave and longitudinal wave. In this research interactions between flexural and longitudinal wave motion are analyzed in a stiffened plate which is reinforced only in one direction. The plate is modelled as a beam to which offset spring-mounted masses are attached at regular intervals. Propagation constants of the coupled waves and corresponding characteristic waves are derived by using periodic structure theory, and a computer code is developed. Also, sample calculations are carried out and the results are discussed.

• (The)Study of the Eastern Classic
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• no.35
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• pp.101-133
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• 2009

Shi Zhen Wang has established his own comprehensive poetics; diachronically, he integrated the main theories on poetry from Wei and Jin to Ming and synchronically the major themes and concerns including 'pure and far-off', 'strong and firm', 'Adoration of Tang', 'Adoration of Song', 'gentle and mild', 'manly and broad minded', 'Nothern Song Ci' and 'Southern Song Ci', etc. The constant goal he sought in this integration process was to represent the intrinsic value of the literary on the basis of the absolute and objective standard without leaning toward a certain value. The standards and values, which are originated from the theory of Shenyun, are founded, more exactly, on 'to reach to it with no written word', 'the meaning outside of the meaning', 'intuitional feeling', 'the nature', 'elegance and righteousness', etc. Because of this, he was able to find good points from each work without prejudice and have full use of his critical talents with objective attitude.

• (The) Research of the performance art and culture
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• no.23
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• pp.185-212
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• 2011

Buddhist dance (seungmu) is a crux and highlight of Korean traditional dance; its aesthetics and technique are extraordinary, and Korean dance's unique style is well expressed. The Buddhist dance, which has been descended, is divided into Han Yeong Suk style, which is designated as Important Intangible Asset Number 27, and Lee Mae Bang style. While the two dances are same one, area is difference and they have unique style because of genealogical difference. However, studies on Buddhist dance so far have focused on single style's dance, or comparison of regional aspects (Han Yeong Suk dance is from Gyeonggi and Lee Mae Bang dance is from Honam area). But, Lee Byeong Ok suggested traditional artist dance is differed by male dance genealogy and female dance (gibang) genealogy dance, and while folk dance has storng tie with region, but artist dance has weak regional tie. Therefore, the purpose of this thesis is to study genealogical character of Buddhist dance's dancing style, clarifying Han Yeong Suk dance is male dance genealogy and Lee Mae Bang dance is gibang dance genealogy. In other words, among three theses that compared Lee Mae Bang and Han Yeong Suk dances, one analyzing movement, one comparing dance of invocation and one comparing traditional ballad, are re-analyzed from genealogical perspective and characteristics are comparatively analzyed. The overall summary of the genealogical attitude of the Han Yeong Suk and Lee Mae Ban dances is; First, Han's dance has masculinity, upwardness, progressiveness, activeness, outgoing character, boldness and grace, which are character of male dance lineage, while Lee's dance shows feminity, downwardness, backwardness, aesthecity, inwardness, delicacy and coquette. Second, the most expressed parts of the attitude of two dances are genealogical character, and then are original and regional characters. Third, two dances have strong genealogical attitude, but also has anti-genealogical attitude since the gender of descendent was changed, in other words Lee Mae Bang was man, and Han Yeong Suk was woman. Fourth, even though the two Buddhist dances have different genealogy and region, they share similarities as traditional dance descended in the same time period, so there are many common features. In other words, the two dances are Korean nation's dance and from same time period, but they should not be mixed, either. Even though they have small differences, they must keep each genealogy and descend to the next generation.