• 베이커리
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• no.2 s.355
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• pp.54-55
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• 1998

• Venture DIGEST
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• s.104
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• pp.29-29
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• 2007

"사랑나누기 아홉 번째, 회원님의 사랑을 기다립니다" (주)코퍼슨스의 온라인 게임포털 코게임(www.cogame.com)홈페이지에는 분홍색 하트모양의 아이콘이 사랑스러운 날갯짓으로 회원들의 사랑 참여를 기다리고 있다. 바로 게임을 즐기러 오는 많은 사람들에게 따뜻한 베풂의 기회뿐 아니라, 소외되어 꿈을 펼치기 어려운 많은 사람들에게 도움이 되고자 실시되고 있는 '사랑나누기 캠페인'이다.

• The Journal of the Petrological Society of Korea
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• v.10 no.2
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• pp.106-120
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• 2001

The Busan area in the northeastern part of the Ogcheon metamorphic zone, Korea, consists mainly of Precambrian Busan and Bakdallyeong gneiss complexes, Ogcheon metamorphic rocks and Mesozoic granitoids. The Busan gneiss complex shows Heart-shaped distribution laying down eastward, and is surrounded by the Ogcheon metamorphic rocks in the central part of the Busan area. In this study structural examination on the main constituent rocks (Busan gneiss complex and Ogcheon metamorphic rocks) was conducted to clarify the geological structure of the Ogcheon metamorphic zone in the Busan area. It indicates that the geological structure was formed at least by three phases of deformation. (1) Dl deformation: the formative period of the structural units of WNW trend (Sanjeoteo, Busan-II, Busan-I, and Chungiu nappes) and the mylonitic foliations related to the compression of NNE-SSW direction, (2) D2 deformation: the differential E-W shortening and N-S extension period of the structural units of WNW trend related to the compression of E-W or WNW-ESE directions, (3) D3 deformation: the formative period of the kink or open folds of E-W trend related to the compression of N-S direction in the eastern and southern parts of Busan area where the structural units of N-S or NNE trends reoriented owing to the intense D2 deformation were developed. These three phases of deformation are closely connected with the distribution of the structural units and the Heart-shaped Busan gneiss complex laying down eastward, and in this paper a new geodynamic model to the Heart-shaped Busan gneiss complex is suggested: Dl deformation-the zonal distribution of WNW trend with a constant width, D2 deformation - the formation of convex wedges northeastward and southward, D3 deformation - the formation of concave wedge westward.

• The Journal of The Korea Institute of Intelligent Transport Systems
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• v.11 no.3
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• pp.23-30
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• 2012

In this paper, we propose a new near-field reader antenna for 900 MHz RFID. The proposed antenna consists the micro-strip antenna with the periodic structure. The overall dimension of the antenna is $313mm{\times}152mm{\times}14mm$. The antenna has the uniform E-field distribution in near field region and the heart-shaped radiation beam pattern (Peak gain=-2 dBi). The transmitted power range is from 17 dBm to 23 dBm. We focus on minimizing the detected error by suppressing the reflected power from the metal, which is attached to the surface by tag, and by reducing the transmitted power from tag.

• Korean Journal of Ichthyology
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• v.13 no.2
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• pp.117-122
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• 2001

Three species, Gymnogobius urotaenia, G. sp. 1 and G. sp. 2, collected at Hosan-river, Hosan-ri, Samcheock-si, Gangwon-do, Korea, were examined for the study of sexual dimorphism. The three species have peculiar nuptial pigmentation during the breeding season: all females of the three species showed an intense black coloration on the ventral part of the head, the pelvic fin, the anal fin and the margin of the first dorsal fin. There was a difference between G. sp. 1 and the other two species in 1/3 from margin of first dorsal fin. Namely, G. sp. 1 showed an intense black coloration, whereas the other two species had an intense yellow coloration. All females of the three species showed the same, intensely yellow coloration in the ventral part of the body. Males of G. urotaenia and G. sp. 2 had almost the same nuptial pigmentation, however the former showed diffuse black coloration in the anal fin, whereas the latter had an intensely black anal fin. Males of G. sp. 1 differed from those of the other two species in their yellow color on the ventral part of the head, the pelvic f ins, the anal fin, in contrast to the diffuse black coloration in those parts in the other species. The genital papilla of males was triangle-shaped, but that of females was heart-shaped. Significant differences between sexes include: G. urotaenia, 7 characters (body depth, head length, snout length, upper jaw length, head depth, pectoral fin ray length, eye diameter); G. sp. 1, 11 characters (body depth, head length, caudal peduncle length, caudal peduncle depth, snout length, upper jaw length, head width, head depth, anal fin ray length, pectoral fin ray length and caudal fin ray length); G. sp. 2, 10 characters (body depth, head length, caudal peduncle depth, snout length, upper jaw length, head width, anal fin ray length, pectoral f in ray length, caudal fin ray length and eye diameter). Of the 5 characters which showed differences in all three species (body depth, head length, snout length, upper jaw length and pectoral fin ray length), females had higher values than males only in body depth, whereas males values in all other characters. The upper jaw length was the most distinctive sexually dimorphic feature, the upper jaw extended beyond the posterior margin of the eyes (p<0.001) in males but not in females.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.130-153
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• 2020

Using stylistic analysis and historical documents, this paper examines the production details of images enshrined in Myeongbujeon (Hall of the Underworld) at Magoksa Temple in Gongju, focusing on the wooden seated Ksitigarbha Bodhisattva and the stone Ten Kings of Hell. Inside Myeongbujeon, the wooden seated Ksitigarbha Bodhisattva is placed at the center, flanked by standing images of Mudokgwiwang and Domyeong-jonja, with images of the Ten Kings and their attendants along the walls. All of these images were transferred to Magoksa Temple in the latter half of the 1930s. The wooden seated Ksitigarbha Bodhisattva came from Jeonghyesa Temple in Cheongyang, the other sculptures came from Sinheungsa Temple in Imsil, and a painting of the Ten Kings came from Jeongtosa Temple in Nonsan. The wooden seated Ksitigarbha Bodhisattva is known to have been produced in 1677, around the same time as the stone sculptures of the Ten Kings. A close analysis of the details of the bodhisattva sculpture-including the facial features, body proportions, and drapery characteristics-strongly suggests that it was produced in the 1620s or 1630s by the monk sculptor Suyeon (who was active in the early half of the seventeenth century) or his disciples. In particular, the rendering of the drapery on the lower half of the body closely resembles Buddhist sculptures produced by Suyeon that are now enshrined at Bongseosa Temple in Seocheon (produced in 1619) and at Sungnimsa Temple in Iksan (produced at Bocheonsa Temple in Okgu in 1634). According to the votive inscription, the stone sculptures of the Ten Kings and their attendants were produced in 1677 under the supervision of the monk sculptor Seongil. However, these are the only known Buddhist images produced under Seongil, and no details about other monks involved in the production have ever been found, making it difficult to speculate about their lineage. Historical records do suggest that Seongil worked on other projects to produce or repair sculptures with disciples of the monk sculptors Hyehi or Unhye, indicating amicable relations between the two groups. Unlike most such images in the Honam or Yeongseo regions, the Ten Kings at Magoksa Temple are made from stone, rather than wood or clay. Also, the overall form and the drapery conform to statues of the Ten Kings that were popularly produced in the Yeongnam region. Thus, the images are believed to be the work of monks who were primarily active in Yeongnam, rather than Honam. In the future, a systematic investigation of wooden seated Ksitigarbha Bodhisattva images and stone Ten Kings of Hell images produced in the Chungnam region could illuminate more details about the production of the images at Magoksa Temple, and perhaps shed light on the conditions that led to the production of stone Buddhist sculptures in the Honam area during the late seventeenth century.