• Journal of Nutrition and Health
• /
• v.56 no.4
• /
• pp.419-438
• /
• 2023

Purpose: This study examines the effectiveness of personalized goal setting and smartphone-based nutrition counseling among adults in their 20s and 30s. Methods: Nutrition counseling was conducted for a total of 30 adults through a 1:1 chat room of a mobile instant messenger, once a week for 8 weeks. The first week of counseling included a preliminary online questionnaire survey and a dietary intake survey. Based on the results of the preliminary survey, 2 dietary goals were set in the second week and the participants were asked to record their achievements on a daily checklist. From the third week onwards, counselors sent feedback messages based on the checklist and provided information on dietary guidelines in a card news format every week. Post-counseling questionnaires and dietary intake surveys were conducted in the seventh week. Changes in dietary habits during the counseling were reviewed in the eighth week, followed by a questionnaire survey on the evaluation of the counseling process. Results: The nutrition quotient (NQ) scores and self-efficacy scores were significantly higher after nutrition counseling. The NQ scores of consumption frequencies of fruits, milk and dairy products, nuts, fast food, Ramyeon, sweet and greasy baked products, sugarsweetened beverages, the number of vegetable dishes at meals, and breakfast frequency were significantly higher after nutrition counseling. The intake of protein, vitamin A, thiamin, riboflavin, folate, calcium, and iron, and the index of nutritional quality of vitamin A, riboflavin, folate, calcium, and iron were higher after nutrition education. The participants were satisfied with the nutrition counseling program and the provided nutrition information. Conclusion: Personalized goal setting and smartphone-based nutrition counseling were found to be effective in improving the quality of diet and self-efficacy in young adults. Similar results were obtained in both the underweight/normal weight and the overweight/obese groups.

• (The) Research of the performance art and culture
• /
• no.39
• /
• pp.325-355
• /
• 2019

On June 12, 1791, the old bachelor Kim Hee-jip and the old lady Shin Deok-bin's Daughter get married. The wedding ceremony is a state-led so-called 'virgin virgin bachelor's marriage project'. At that time, the king ordered the recorder to record the case, which is called . The private sector also made it into a work, which is the Chinese drama written by LeeOk(李鈺). was created with the purpose of praising the king, and it inserted entertainment elements into it, so it had a frame of plays, but it did not have a performance in mind from the beginning. LeeOk uses different styles in each of the four acts. He tried to soothe his boredom by setting tales and proverbs in Acts 1 and 2, Pansori in Act 3, and drama in Act 4. In 1918, BaekDooYong(白斗鏞) published DongSangGiChan[東床記纂], which is combines drama and Yadam . In previous studies, these two were perceived as different works, but the two rooms were closely linked: the link was 'someone recognize me[知 己]'. He understood the table of contents made by Lee as 'JaeHyun(才賢)', 'deokhye(德慧)', 'Kwontaek(眷澤)', 'Bokyeon(福 緣)' respectively, and recorded the version of the yadam that fits it in . From acts 1 to 4, Baek contained his desire in it by constructing 'someone recognizes me → I recognize someone → do good things[積善] → blessings[餘慶]'. This is why we can't comprehend and as completely different works.

• Journal of The Korean Association For Science Education
• /
• v.28 no.1
• /
• pp.1-14
• /
• 2008

The image of science is one of the recurrent topics in science education research. In particular, we believe that students' images of Doing-Science-Well could be used for identifying not only students' perceived goals of science learning, but also practical guidelines of effective science teaching. In this study, the students' images of Doing-Science-Well were investigated with the following two research questions: (i) what are student's images of Doing-Science-Well?; (ii) in what contexts do students perceive that someone is doing science well? Thirty seven students in a high school in Seoul, Korea were asked to write their personal experiences by which they realized that someone was doing science well. The main results of the study are the following: Firstly, the images of Doing-Science-Well could be categorized into 'Einstein type', 'Socrates type', 'MacGyver type' and six more types. Secondly, with regard to contexts, students tended to realize that somebody is doing science well in terms of two kinds of contexts: 4 physical contexts and 6 psychological contexts. The findings led us to develop a frame of judging Doing-Science-Well, which combines the types and two kinds of contexts. The frame illustrates the multiplicity of the images of Doing-Science-Well.

• Korean Journal of Heritage: History & Science
• /
• v.44 no.3
• /
• pp.178-199
• /
• 2011

The ancient tombs found in Bokcheon-dong, Busan originate from the time between the $4^{th}$ and $5^{th}$ centuries, the period of the Three Nations. They are known as the tombs where the Vertical Plate Armour was mainly buried. In 2006, two units of the Vertical Plate Armour were additionally investigated in the tombs No.164 and No.165 which had been constructed at the end of the eastern slope near the hill of the group of ancient tombs in Bokcheon-dong. Throughout this study, the contents of the two units of the Vertical Plate Armour, whose preservation process has been completed, have been arranged, while the group of constructed ancient tombs in Bokcheon-dong from the $4^{th}$ century has been observed through the consideration of the burial pattern. The units of the Vertical Plate Armour from the tombs No.164 and No.165 can be classified as the IIa-typed armor showing the Gyeongju and Ulsan patterns, according to the attribute of the manufacturing technology. Also, they can be chronologically recorded as those from the early period of Stage II among the three stages regarding the chronological recording of the Vertical Plate Armour. While more than two units of the Vertical Plate Armour were buried in the largesized tomb on the top of the hill of the group of ancient tombs, one unit of the Vertical Plate Armour was buried in the small-sized tomb. By considering such a trend, it can be said that in the stage of burying the armor showing the Gyeongju and Ulsan patterns (I-type and IIa-type), different units of the Vertical Plate Armour were buried according to the size of the tomb. However, as the armor showing the Busan pattern (IIb-type) was settled, only one unit was buried. Meanwhile, the tombs No.164 and No.165 can be included in the wooden chamber tomb showing the Gyeongju pattern, which is a slender rectangular wooden chamber tomb with the aspect ratio of more than 1:3. However, according to the trend shown by the buried earthenware, it can be said that there seem to be common types and patterns shared with the earthenware which has been found in the area of Gimhae and is called the one showing the Geumgwan Gaya pattern. In other words, there seem to be close relationships between the subject tombs and the tomb No.3 in Gujeong-dong and the tomb No.55 in Sara-ri, Gyeongju, regarding the types of armor and tombs and the arrangement of buried artifacts. However, the buried earthenware shows a relationship with the areas of Busan and Gimhae. By considering the combined trend of the Gyeongju and Gimhae elements found in one tomb, it is possible to assume that the group of constructed ancient tombs in Bokcheon-dong used to be actively related with both areas. It has been thought that the Vertical Plate Armour used to be the exclusive property of the upper hierarchy until now, since it was buried in the large-sized tomb located on the top of the hill of the group of ancient tombs in Bokcheondong. However, as shown in case of the tombs No.164 and No.165, it has been verified that the Vertical Plate Armour was also buried in the small-sized tomb in terms of such factors as locations, sizes, the amount of buried artifacts and the qualitative aspect. Therefore, it is impossible to discuss the hierarchical characteristic of the tomb just based on the buried units of the Vertical Plate Armour. Also, it is difficult to assume that armor used to symbolize the domination of the military forces. The hierarchical characteristic of the group of constructed ancient tombs in Bokcheon-dong from the $4^{th}$ century can be verified according to the location and size of each tomb. As are sult, the re seem to be some differences regarding the buried units of the vertical plate armour. However, it would be necessary to carry out amore multilateral examination in order to find out whether the burial of the vertical plate armour could be regarded as the artifact which symbolizes the status or class of the deceased.

• Korean Journal of Heritage: History & Science
• /
• v.49 no.2
• /
• pp.4-19
• /
• 2016

Jangkei(狀啓) made to the Royal Court by Yi Sun-sin during the Japanese invasions of Korea is handed down under the names of Jangcho(狀草), Keicho(啓草), Keibon(啓本) and others depending on copying patterns of those times and later times as it was copied out by a third person. In particular, "YimjinJangcho(壬辰狀草)" which Yi drew up during his service as the director of the naval forces in Jeolla Jwasooyeong is known as the most popular Jangkei. "ChungMinKongKeicho" which has been re-located recently after loss is a national treasure level cultural property as valuable as "YimjinJangcho" and should be treated as a model of Yi Sun-sin's other Jangkeis by next generations. As of now, however it is not confirmed if it is a totally new book related to Yi Sun-sin or is supplementary to the lost Jangkei, this study decided to ascertain relevant information through a bibliographic discussion on the question. "Chungmin(忠愍)" was the title that was used after the death of Yi Sun-sin, and "ChungMinKongKeicho" was completed when Jangkei was copied in 1662. 12 books that would not be found in YimjinJangcho are included in the book and such books are also present in the Jangkei supplement which has been known lost so far. What should be especially focused on here is that the forms and contents of these (11) photographs that Japanese shot from "ChungMinKongKeicho" in 1928 turned out to be completely identical to those of the original copy. The point that Korean History Compilation Committee added the 12 books to Jangkei as referring to the book as "One Keicho(啓草) partially copied(抄寫) in separation" and that Cho Sung-do categorized the 12 books into a supplement and others can be solid proofs to make the Jangkei supplement called "ChungMinKongKeicho". In terms of "ChungMooKongKeicho", since it consists of 62 books in total, it is not reasonable to see the book as Jangkei supplement which has the extra 12 more books for itself. "ChungMooKongKeibon" in "ChungMooKongYusa" was written with a total of 16 books. In the body, Yidumun is only clearly present, and the three books in the later part are same with the original copy of "ChungMooKongKeicho". "YimjinJangcho" by Korean History Compilation Committee has been the only book in which Yidumun was observed so far but now, it is assumed that the publication date of "ChungMooKongKeibon" goes before that of the former. The counterargument to the opinion that "ChungMinKongKeicho" is the supplement to Jangkei is based on Lee Eun-sang's comment "One page of a log in the Jangkei copy supplement." At first Seol Ui-sik introduced a piece photo of the rough draft of "MoosulIlki" in a drawing form through "Nanjung Ilkicho by Yi Sun-sin" in 1953. Lee Eun-sang also added two pages of the handwritten Yilkicho in the Jangkeichobon supplement to "MoosulIlki" and for the second time, the phrase "One page of a log written during the last 10 days after the Jangkei copy supplement" and "Supplement" were used. Those views are originated from the comment "One photograph of the rough draft of "MoosulIlki"" which Seol Ui-sik introduced without knowledge of the exact source. Lee Eun-sang said, "One page of a log in the Jangkei copy supplement" because Lee mistook "ChungMooKongYusa" for a book related to Jangkei. Since it is the wrong argument different from the actual situation of the original copy, if it has to be corrected, it should be rephrased "One page of a log in ChungMooKongYusa." After all, the source of the counterargument is the mistake because there has never been the Jangkei supplement with one page of a log included. All the Jangkeis other than "YimjinJangcho" can be said as the Jangkei supplements but still, they are separated from the other Jangkeis for the extra 12 more books are present in the commonly-called Jangkei supplement. Due to that reason, the argument on how "ChungMinKongKeicho" with the 12 books added is the popular Jangkei supplement should be considered more reasonable.

• (The) Research of the performance art and culture
• /
• no.35
• /
• pp.61-92
• /
• 2017

During the Japanese colonial era, traditional music performances were gradually diminishing and weakening in the particular condition of colonization. Meanwhile, from the time of enlightenment, Western genre performances were becoming vitalized with the influence of Western civilization that began to be spread steadily throughout the society. In that situation, traditional music performances tended to be mixed performances accompanied by Western ones, not independent performances. Mostly, they were accompanied by Western music, and also, they were performed along with other genres like plays, lectures, movies, dances, or magic, too. Such form of mixed performances accompanied by Western genres became even more vitalized in the 1920's and came to be positioned as a form of traditional music performances. Therefore, research on the forms of mixed performances between Western genres and traditional music is meaningful in examining the forms of traditional music performances that have not been studied in the history of Korean modern music and understanding the trends of traditional music performances which were generally found in the Japanese colonial era. However, such research has hardly been conducted concretely yet. Accordingly, concerning the forms of mixed performances between Western genres and traditional music in the 1920's, this author considered the background of vitalizing mixed performances between Western genres and traditional music mainly with newspaper articles of the time and their formal characteristics. Regarding the background of vitalizing the forms of mixed performances between Western genres and traditional music, from the 1920's, the forms of mixed performances between Western genres and traditional music became more vitalized than before. The causes of that may include the increase of groups hosting or sponsoring such performances from the 1920's and also the dramatic increase of such performances in general. Moreover, the increased performances were conducted in the forms of mixed performances mainly in order to satisfy the people's needs becoming diversified with the distribution of Western civilization. Concerning the formal characteristics of mixed performances between Western genres and traditional music, this researcher classified western genres performed with traditional music and examined what characteristics were found in such mixed performances of tradition music by the types of Western genres respectively. First, in the mixed performances type of western-type genre and traditional music, the number of programs for the western music had significant portion in general, and there were certain ensemble of the western music and traditional musical instrument that was rare at this period of time, and it also had the characteristics of classifying two genres to perform for each title or date. Second, in the mixed performances type of the drama and traditional music, the traditional music is directly participated in the drama with the similar type to the theater, or performed independently from the drama with the role of interlude performance for the stage conversion of the drama to have the characteristics of performing in audience publicity or entertainment. Third, in the mixed performances type of the lecture and traditional music, the traditional music is played before or after the lecture to play the role to set the atmosphere and entertainment for the lecture as displaying the feature to perform for the audience attraction. And, fourth, in the mixed performances type of the movie and traditional music, the traditional music sometimes directly participated in the movie or had the features of independent performance, and there was a characteristic to perform for the entertainment after showing a movie.

• MISULJARYO - National Museum of Korea Art Journal
• /
• v.98
• /
• pp.226-241
• /
• 2020

Located on the right side of the third floor of the State Hermitage Museum in St. Petersburg, the "Art of Central Asia" exhibition boasts the world's finest collection of artworks and artifacts from the Silk Road. Every item in the collection has been classified by region, and many of them were collected in the early twentieth century through archaeological surveys led by Russia's Pyotr Kozlov, Mikhail Berezovsky, and Sergey Oldenburg. Some of these artifacts have been presented around the world through special exhibitions held in Germany, France, the United Kingdom, the Netherlands, Korea, Japan, and elsewhere. The fruits of Russia's Silk Road expeditions were also on full display in the 2008 exhibition The Caves of One Thousand Buddhas - Russian Expeditions on the Silk Route on the Occasion of 190 Years of the Asiatic Museum, held at the Hermitage Museum. Published in 2018 by the Shanghai Chinese Classics Publishing House in collaboration with the Hermitage Museum, Kuche Art Relics Collected in Russia introduces the Hermitage's collection of artifacts from the Kuche (or Kucha) region. While the book focuses exclusively on artifacts excavated from the Kuche area, it also includes valuable on-site photos and sketches from the Russian expeditions, thus helping to enhance readers' overall understanding of the characteristics of Kuche art within the Buddhist art of Central Asia. The book was compiled by Dr. Kira Samosyuk, senior curator of the Oriental Department of the Hermitage Museum, who also wrote the main article and the artifact descriptions. Dr. Samosyuk is an internationally renowned scholar of Central Asian Buddhist art, with a particular expertise in the art of Khara-Khoto and Xi-yu. In her article "The Art of the Kuche Buddhist Temples," Dr. Samosyuk provides an overview of Russia's Silk Road expeditions, before introducing the historical development of Kuche in the Buddhist era and the aspects of Buddhism transmitted to Kuche. She describes the murals and clay sculptures in the Buddhist grottoes, giving important details on their themes and issues with estimating their dates, and also explains how the temples operated as places of worship. In conclusion, Dr. Samosyuk argues that the Kuche region, while continuously engaging with various peoples in China and the nomadic world, developed its own independent Buddhist culture incorporating elements of Gandara, Hellenistic, Persian, and Chinese art and culture. Finally, she states that the culture of the Kuche region had a profound influence not only on the Tarim Basin, but also on the Buddhist grottoes of Dunhuang and the central region of China. A considerable portion of Dr. Samosyuk's article addresses efforts to estimate the date of the grottoes in the Kuche region. After citing various scholars' views on the dates of the murals, she argues that the Kizil grottoes likely began prior to the fifth century, which is at least 100 years earlier than most current estimates. This conclusion is reached by comparing the iconography of the armor depicted in the murals with related materials excavated from the surrounding area (such as items of Sogdian art). However, efforts to date the Buddhist grottoes of Kuche must take many factors into consideration, such as the geological characteristics of the caves, the themes and styles of the Buddhist paintings, the types of pigments used, and the clothing, hairstyles, and ornamentation of the depicted figures. Moreover, such interdisciplinary data must be studied within the context of Kuche's relations with nearby cultures. Scientific methods such as radiocarbon dating could also be applied for supplementary materials. The preface of Kuche Art Relics Collected in Russia reveals that the catalog is the first volume covering the Hermitage Museum's collection of Kuche art, and that the next volume in the series will cover a large collection of mural fragments that were taken from Berlin during World War II. For many years, the whereabouts of these mural fragments were unknown to both the public and academia, but after restoration, the fragments were recently re-introduced to the public as part of the museum's permanent exhibition. We look forward to the next publication that focuses on these mural fragments, and also to future catalogs introducing the artifacts of Turpan and Khotan. Currently, fragments of the murals from the Kuche grottoes are scattered among various countries, including Russia, Germany, and Korea. With the publication of this catalog, it seems like an opportune time to publish a comprehensive catalog on the murals of the Kuche region, which represent a compelling mixture of East-West culture that reflects the overall characteristics of the region. A catalog that includes both the remaining murals of the Kizil grottoes and the fragments from different parts of the world could greatly enhance our understanding of the murals' original state. Such a book would hopefully include a more detailed and interdisciplinary discussion of the artifacts and murals, including scientific analyses of the pigments and other materials from the perspective of conservation science. With the ongoing rapid development in western China, the grotto murals are facing a serious crisis related to climate change and overcrowding in the oasis city of Xinjiang. To overcome this challenge, the cultural communities of China and other countries that possess advanced technology for conservation and restoration must begin working together to protect and restore the murals of the Silk Road grottoes. Moreover, centers for conservation science should be established to foster human resources and collect information. Compiling the data of Russian expeditions related to the grottoes of Kuche (among the results of Western archaeological surveys of the Silk Road in the early twentieth century), Kuche Art Relics Collected in Russia represents an important contribution to research on Kuche's Buddhist art and the Silk Road, which will only be enhanced by a future volume introducing the mural fragments from Germany. As the new authoritative source for academic research on the artworks and artifacts of the Kuche region, the book also lays the groundwork for new directions for future studies on the Silk Road. Finally, the book is also quite significant for employing a new editing system that improves its academic clarity and convenience. In conclusion, Dr. Kira Samosyuk, who planned the publication, deserves tremendous praise for taking the research of Silk Road art to new heights.