• The Journal of the Korea institute of electronic communication sciences
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• v.11 no.3
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• pp.263-270
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• 2016

This paper implemented an ultra-wideband(: UWB) antenna by using a modified barrel-shaped patch antenna. The designed UWB patch antenna was optimized to match UWB technical specifications by considering the sizes of barrel circle and oval(notch) which is distance between the patch and contact surface and designed antenna was implemented by $10mm(R1){\times}21.8mm$ size. Optimal values on the basis of simulated reflective loss results, the surface current distribution of designed patch antenna was analyzed in order to check operation mode of antenna and wideband mechanism. Experimental results of implemented UWB antenna, Return loss of UWB antenna the voltage standing wave ratio was 2 or less in the 1.775-13.075 GHz band, VSWR in 2 or less. And the maximum gain of approx. 1-3 dBi was found in 3.1-10.6 GHz. This result satisfied the characteristics of ultra-wideband and the proposed antenna will be applicable to an ultra-wideband system.

• Journal of the Korea Fashion and Costume Design Association
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• v.6 no.1
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• pp.73-87
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• 2004

In the designing stage, the HANBOK CHIMA is created using a flat pattern with linear shapes. However, when worn, the skirt creates a fluid and organic silhouette. According to the wearing method(wrapping), HANBOK CHIMA can create various shapes and movements. In comparison to the general skirt, It is more effective in revealing the wearer's sense of beauty. The method of wrapping the skirt from the rear is a suitable way of wearing the garment in accord with the Korean ON-DOL(온돌) culture and it creates mystique eroticism. We can devide the silhouettes according to six different period of time. The silhouette of HANBOK CHIMA is affected by the following elements: length, width, pleats, textures and the usage of underwear. [1. Koguryo (5C∼6C) - The first Tent silhouette. 2. The South Dynasty Silla (7C∼8C) - The second Tent silhouette. 3. Kyoryo dynasty (l4C) - Cylinder silhouette. 4. The first Chosun dynasty (late 14C∼17C) - Bell silhouette and Cylinder silhouette. 5. The second Chosun dynasty (mid 18C∼mid 19C) - Bell silhouette and Barrel silhouette. 6. The third Chosun dynasty (late 19C∼the beginning of 20C) - Tent, Cylinder and Bell silhouette.]

• Korean Journal of Medicinal Crop Science
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• v.13 no.1
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• pp.21-29
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• 2005

This study was done to obtain their morphological traits to analyse genetic diversity and intraspecific relationship of 47 Polygonatum species collected from Gyeongnam province. Plant height was the highest in P. thunbergii but the shortest in P. involucratum. Growth habit and its colors were classified to 3 groups, respectively. Leaf shapes were sorted to 5 groups including lanceolate with petiole or none, petiole colors were done to 3 groups including a species having dark green leaves of purple colored margin. Flower shapes were divided as 3 groups of urceolate, tubular and gourd shapes, and its colors were white, greenish white and light green, especially light green in a species with gourd shape. Filament shapes were two types of flatness and cylinder. Peduncle color and bract attached below it showed 4 types, respectively. Fruit shapes were sorted to 3 groups. In 100-fruit weights P. ordoratum var. pluriflorum showed the greatest but P. involucratum did the least. Two species were completely resistant to leaf brightness although 7 species showed less than 7 % infection rates. Rhizome yields ranged from 4.4 g to 94.8 g per plant, showing their significant variation. In correlation analysis between 9 major characters, rhizome yield per plant was positively correlated with plant height, stalk diameter, leaf number, leaf length and width, and rhizome diameter but leaf brightness was negatively done with plant height, stalk diameter, leaf number and length, 100-seed weight, rhizome yield per plan and rhizome diameter.

• Korean Journal of Heritage: History & Science
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• v.54 no.4
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• pp.192-211
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• 2021

In Seongju, Gyengsangbuk-do, the Placenta Chamber (胎室, Taesil) of 18 sons and a son of the crown prince of King Sejong(世宗大王) is located in one place. Taesil refers to the place where the umbilical cord and placenta, which are separated when the baby is born, are placed in a jar made of pottery and stone box and then buried on the ground. The placenta chamber in Seongju has the Buncheong ware (粉靑沙器) cover buried on the ground to protect the baby's placenta. These covers are all hemispherical, with a diameter of more the 20cm. The decorations were made using black and white inlaid techniques only on the outside. The Buncheong ware cover with this shape and pattern has been confirmed only in the placenta chamber in Seongju. This study targets 6 of the Buncheong ware cover whose owners were identified, when and where they were prepared, what the stylistic features and meanings are, and where it was produced. The results of the study are as follows. First, ss a result of reviewing the production background and procurement system of this bowl, it was inferred that it was sourced from Jangheunggo (長興庫) at the central government office, between 1436 and 1439, when the event to bury the placenta of royal members in the ground was the most active. Second, it analyzed the unique features of this cover, such as the shape, pattern, and baked traces. The shape and pattern were compared to the ritual objects contained in the Sejong Silok Oryeui (『世宗實錄』 「五禮」, Five Rites of King Sejong Chronicle) and the lid of the royal placenta jar made in the 15th and 16th centuries. Third, this study suggests that the baking method was based on the shape and location of the traces remaining outside the cover. Finally, the following data were used to estimate the production site: the relationship with the 'Jagiso (磁器所, ceramic workshop) registered in the Sejong Silok Jiriji (『世宗實錄』 「地理志」, Geographical Appendix of King Sejong Chronicle); various records of contribution and dedication about the Buncheong ware made here; and the Buncheong ware and related tools excavated from the kiln site in the area. The place where the Buncheong ware cover was produced is estimated to be the most likely production site for the kiln site in Chunghyo-dong Kiln Site, located in Jeolla-do province by synthesizing the data above.

• MALSORI
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• no.31_32
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• pp.173-193
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• 1996

불어의 "묵음 e(e muet)"에 대한 정의를 내리기는 매우 까다롭다. 불어에서 "e"가 "묵음 e(e muet)"로 불리우는 이유는 "e"가 흔히 탈락되기 때문이다. 현재 "e muet"는 다음 발화체에서 볼 수 있듯이 열린음절에서만 나타난다. "Je/le/re/de/man/de/ce/re/por/ta/ge/." [omitted](나는 그 리포트를 다시 요구한다. : 이 경우 실제 발화시 schwa 삭제 규칙이 적용된다.) 둘째, 접두사에 나타나는 "e muet"는 s의 중자음 앞에서 s가 유성음, [z]로 발음되는 것을 막기 위해 쓰인다. "ressembler[omitted](닮다); ressentir[omitted](느끼다)" 같은 경우, 셋째, 몇몇 낱말의 경우 고어의 철자가 약화되어 "e muet"로 발음이 되고 있다. "monsieur[$m{\partial}sj{\emptyset}$](미스터), faisan[$f{\partial}z{\tilde{a}}$](꿩), faisait[$f{\partial}z{\varepsilon}$]("하다"동사의 3인칭 단수 반과거형)"등. 또 과거 문법학자들은 이를 "여성형의 E"로 불렀는데, 이는 형태론적으로 낱말의 여성형을 남성형과 구분짓기 위해 사용되고 있기 때문이기도 하다. 예를 들어, "$aim{\acute{e}}-aim{\acute{e}}e$"(발음은 둘 다 [${\varepsilon}me$]로 동일하다 : 사랑받다)의 경우. 현대불어의 구어체어서 "e muet"는 어말자음을 발음하기 위해 쓰이고 있다. 예를 들어, "pote[pot](단짝)-pot[po](항아리)". 이러한 "e muet"는 발음상으로 지역적, 개인적 및 문맥적 상황에 따라 그 음색 자체가 매우 불안정하며 여러 가지 음가(열린 ${\ae}$ 또는 닫힌 ${\O}$)로 나타난다. 예를 들어 "seul[$s{\ae}l$](홀로), ceux[$s{\O}$](이것들)"에서와 같이 발음되며, 또한 원칙적으로 schwa, [${\partial}$]로 발음이 되는 "Je[$\Im\partial$]"와 "le[$l{\partial}$]"의 경우, Paris 지역에서는 "Je sais[${\Im}{\ae}{\;}s{\Im}$](나는 안다); Prends-le[$pr{\tilde{a}}{\;}l{\ae}$](그것을 집어라)"로 발음을 하는 한편, 프랑스 북부 지방세서는 동일한 발화체를 [${\ae}$]대신에 [${\o}$]로 발음한다. 실제로 언어학적 측면에서 고려되는 "e muet"는 schwa로 나타나는 "Je[$\Im\partial$]"와 "le[$l{\partial}$]"의 경우인데, 불어 음운론에서는 schwa에 의해 대립되는 낱말짝이 없기 때문에 schwa를 음소로 인정할 것인가에 대해 논란이 있다. 그러나 불어에서 schwark 음운론적 역할을 한다는 사실은 다음과 같은 예에서 찾아 볼 수 있다. 첫째, 발음상으로 동사의 변화형에서 "porte[$p{\jmath}rte$](들다: 현재형), porte[$p{\jmath}rte$](과거분사형), porta[$p{\jmath}rte$](단순과거형)"등이 대립되며, 이휘 "Porto[$p{\jmath}rte$](포르토)"와도 대립된다. 둘째, 어휘적 대립 "le haut[$l{\partial}o$](위)/l'eau[lo](물)"와 형태론적 대립 "le[$l{\partial}$](정관사, 남성단수)/les[le](정관사, 복수)"등에서 "묵음 e"는 분명히 음운론적 역할을 하고 있다. 본 논문에서는 이와 같이 음색이 복잡하게 나타나는 "e muet"의 문제를 리듬단위, 문맥적 분포 및 음절모형 측면, 즉 음성학 및 음운론적 측면에서 다양하게 분석하여 그 본질을 규명해 보고 "e muet"탈락현상을 TCG(Theorie de Charme et de Gouvernement) 측면에서 새롭게 해석해 보았다.

• Applied Biological Chemistry
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• v.15 no.1
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• pp.49-57
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• 1972

Varietal difference in root distribution and other root characteristics were investigated under fold and water culture condition. The results were as follows: 1. IR667 showed funnel type of root distribution in soil profit while Jinheung had barrel type, and each type appearance was more distinguishable with fertilizer application. 2. Root weight per tiller was smaller in IR667 than in Jinheung and IR667 had more root in 0 to 5cm of soil depth but Jinheung had more in 5 to l0cm depth. 3. Horizontal distribution of root was dencer near to stem base without fertilizer than with fertilizer in both IR667 and Jinheung indicating structural construction for intensive nutrient uptake. Between varieties this 'dence to stem base' trend accompaning 'dence to wide spacing side' was greater in IR667 without fertilizer and these were quite true with fertilizer in Jinheung. 4. The decreasing rates of root and ear weight by fertilizer application were greater in IR667 than in Jinheung. This and other characteristics indicated that the root of IR667 is likely to be panicle-number type comparing with Jinheung. 5. The root of IR667 had lower oxidizing power of ${\alpha}-naphthylamine$ than that of Jinheung indicating weaker resistance to reductive soil but cation exchange capacity of water-cultured root was higher in IR667 suggesting stronger nutrient uptake. 6. The content of phosphorus and especially potassium in root were higher with fertilizer but lower without fertilizer in IR667 than in Jinheung indicating that IR667 is more sensitive to root environment. 7. The contents of N, K and CEC were increasing toward root tip while P content was decreasing. The root from surface soil had higher N and K content than that from subsoil. The contents of N,P,K, and CEC of root at harvesting stage were about 1.0%, 0.1%, 0.5% and 15me/100g at dry weight base, respectively.

• Food Science and Preservation
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• v.20 no.4
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• pp.564-572
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• 2013

We investigated the quality characteristics of brewing brown rice vinegar through a traditional static fermentation process. Accordingly, we decided to compare the physicochemical characteristics of brewing vinegar at different temperatures and filtration methods. In four to five weeks' time, the acetic acid fermentation exhibited the highest titratable acidity and then it eventually decreased. The titratable acidity was affected by the filtration method. It was revealed that the titratable acidity was higher in the forced filtration than the traditional filtration method. Various organic acids were detected in order to initialize the fermentation stage and as the fermentation progressed, only the acetic acid could be detected. The total free amino acid content was higher at a temperature of $30^{\circ}C$ than at $20^{\circ}C$. Moreover, the free amino acid content was dependent on the acetate content during the acetic fermentation process. The main bioactive substance of the ${\gamma}$-aminobutyric acid content was more than twice at a fermentation temperature of $30^{\circ}C$ compared to the fermentation temperature of $20^{\circ}C$. Furthermore, the total amino acid and essential amino acid content at a temperature of $30^{\circ}C$ was excellent. The quality of the brown rice vinegar via forced filtration method at a temperature of $30^{\circ}C$ was the most excellent. Based on these results, the fermentation temperature and the use of nuruks (fermenting agent) affected the quality of the brown rice vinegar, and an appropriate method to consider its purpose is required.

• Sijohaknonchong
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• v.30
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• pp.263-300
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• 2009

Adoration for nature constitutes one of the primary subjects that literature has tackled since the origin of human history. Nature expressed through a poet's subjective imagination is the internalized and reorganized nature. This study examines the view on nature enacted in Ch'o-Jung's three-verse poems (sijo) in light of the traditional views on nature implicated in the ancient three-verse poems (koshijo), which is in line with the long-established Oriental view on nature. To dignitaris(sadaebu) in the Chosun Dynasty, nature appeared as the idealistic subject for moral culture ($shims{\breve{o}}ngsuyang$), which also becomes the literary space where the purity and justice of the world view of Neo-Confucianism(Sungrihak) is contained in the form of the three-verse poem, the lyrical poetic space where the "I" is united with nature by way of "enjoying of wind and moon"($umpungnongw{\breve{o}}i$) and "living in quiet retiremen"($yuyuchaj{\breve{o}}k$), and the object for the poetical perception of the surrounding world. Ch'o-Jung' s three-verse odes are found in Reed pipe ($Ch'oj{\breve{o}}k$), Sixty Five Pieces of Three-Verse Odes (Samhaengshi-$yukshipopy{\breve{o}}n$), Autumn Fragrance ($Hyangginam{\check{u}}n-ga{\check{u}}l$), and The Words of Zelko va Tree ($N{\check{u}}tinamu{\check{u}}i-mal$). This study analyzes 212 pieces of Ch'o-Jung' s three-verse poems chosen from theses books. In Ch'o-Jung's poems, the traditional view on nature expressed in the ancient three-verse poems is rendered in such a way that metaphysical understanding of nature is indirectly transmitted through the objective correlatives found nature. Nature is no longer the object of straightforward utterance, but transformed, displaced, and removed: that way, nature gets objectified to form a complicated and multi-layered structure. In conclusion, the view on nature manifested in Ch'o-Jung's three-verse poems is based on traditional metaphysics. Second, nature is the object of lyrical nostalgia and adoration. Third, nature is imbued with the fundamental affection for parents. Fourth, nature is associated with organic life. Fifth, the nature in Ch'o-Jung's poems reveals the beauty of stillness endorsed in Lao-tse's and Chung-tze's philosophy. And last, nature is the agent for self-realization and meditation.