• Food Science and Preservation
• /
• v.31 no.3
• /
• pp.486-498
• /
• 2024

This study examined the effects of a soybean sprouts mixture containing 1.5% Hovenia dulcis Thunb. fruit concentrate (SHM) on relieving hangovers and improving liver function in chronically alcohol-treated rats. The ampelopsin and L-asparagine contents in the SHM were 10.52, 35.19 ppm. When chronic alcohol-induced rats were treated with SHM, the body weight increased and the liver weight decreased. The serum alcohol and acetaldehyde concentrations were lowest in the SHM group, and the hepatic ADH and ALDH activities were highest in the SHM group. Chronic alcohol induction increased the activity of liver function indicator enzymes such as ALT, AST, and GGT, but the activity was decreased significantly with the SHM treatment. The triglyceride content in hepatic and serum blood samples was lowest in the SHM group. The serum total cholesterol and LDL cholesterol contents decreased in the SHM group, and the HDL cholesterol content increased. The color of the hepatic observed morphologically in the SHM group was reddish brown, and the size and number of lipid droplets in the hepatic observed pathologically decreased. The hepatic and serum lipid peroxidation content of the SHM group decreased. The hepatic and serum GSH content increased in the SHM group. Therefore, SHM can be a functional food that can help hangovers and improve liver function.

• Journal of Christian Education in Korea
• /
• v.79
• /
• pp.243-271
• /
• 2024

Purpose of the Study : This study aims to explore the symbolic commonalities between the image of 'KWANGYA' in Korean pop music (K-Pop) and the biblical wilderness theology. By analyzing the interaction between modern popular culture and ancient religious texts, this research seeks to investigate how the narrative of the biblical wilderness can be reinterpreted and received by contemporary youth. Contents and Method : This study analyzes the image of 'KWANGYA' as depicted in the worldviews of Korean pop songs by artists such as Lee Yuk-sa, Kim Min-ki, and aespa. It examines how this image connects with the symbolic aspects of the biblical wilderness. In the Bible, the wilderness is a space symbolizing trials and overcoming, spiritual growth and self-discovery, and the coexistence of chaos and order. These characteristics are observed not only in Lee Yuk-sa's poem 'Wilderness' during the Japanese colonial period but also in the imagery of the wilderness in the 1970s-80s folk songs and 2020s K-Pop songs. In particular, in K-Pop, the wilderness is utilized as a symbolic space where protagonists undergo and overcome various challenges and trials, leading to spiritual growth and self-discovery. This study aims to explore the possibilities of how the biblical wilderness narrative can be newly received by contemporary youth through this interaction between modern popular culture and ancient religious texts. Conlusion : The wilderness in K-Pop symbolizes the trials, self-discovery, and spiritual growth experienced by youth, encapsulating the process of finding order within chaos, much like the biblical wilderness. This research contributes to understanding how popular culture and religious symbolism interact to create contemporary meaning, showing how the message of the Bible is reinterpreted and received in today's culture. Based on these findings, it is suggested that Christian education today should consider reinterpreting and utilizing biblical symbols within new cultural contexts.

• Economic and Environmental Geology
• /
• v.36 no.3
• /
• pp.159-170
• /
• 2003

Heavy metals are extracted from Chonju stream sediment, roadside soils and sediments along Honam expressway, soils and tailings from mining area using three different methods (partial extraction in Standard Method, partial extraction method with maintaining 0.1 N of extraction solution and Sequential Extraction Method). In samples having buffer capacity against acid, pH 1 (0.1 N HCl) of extraction solution can not be maintained and pH of extraction solution increases up to 8.0 when partial extraction in Standard Method is used. The averages and ranges of HPE(heavy metals extracted using partial extraction in Standard Method)/HPEM(heavy metals extracted using partial extraction method with maintaining 0.1 N of extraction solution) values are 0.479 and 0.145~0.929 for Cd, 0.534 and 0.078~0.928 for Zn, 0.432 and 0.041~0.992 for Mn, 0.359 and 0.011~0.874 for Cu, 0.150 and 0.018~0.530 for Cr, 0.219 and 0.003~0.853 for Pb, and 0.088 and 1.73${\times}$10$^{-5}$~0.303 for Fe. These data indicate that the difference between HPE and HPEM is large in the order of Fe, Cr, Pb, Cu, Mn, Cd and Zn. The amounts of heavy metals extracted decreases in the follow order; Sum III(sum of fraction I, II, III in sequential extraction)>HPEM>Sum III (sum of fraction I and II)>HPE for Zn, Cd and Mn and Sum III>HPEM>HPE for Cr and Fe. In the case Cr, Sum II is lower than HPEM and higher than HPE. In case of Cu, extracted heavy metals is large in the order Sum IV>HPEM>Sum III HPE. HPE/HPEM value decreases with increasing the amount of HCl used for maintaining 0.1 N of extraction solution. For samples with high buffer capacity, HPE/HPEM value in all elements is lower than 0.2. On the other hand, for samples with low buffer capacity, HPE/HPEM value are over 0.2 and many samples have values higher than 0.6 for Zn, Cd Mn and Cu due to the small difference between Sum II and Sum III, and relatively higher mobility. However, for Fe and Cr, HPE/HPEM value is below 0.2 even for samples with low buffer capacity due to their low mobility and big difference between Sum II and Sum III. This study indicates that the partial extraction method in Korean Standard Method of soil is not suitable for an assessment of soil contamination in area where buffer capacity of soil can be decreased or lost because of a long term exposure to environmental damage such as acidic rain.

• Korean Journal of Breeding Science
• /
• v.41 no.4
• /
• pp.654-659
• /
• 2009

"Cheongcheongjinmi" is a new japonica rice variety developed from a cross between Iri401 and Ilpumbyeo by the rice breeding team of National Institute of Crop Science, RDA. This variety is suitable for ordinary season culture of low level nitrogen application. Heading date of "Cheongcheongjinmi" is August 17, 4 days later than that of Sobibyeo in plain areas. It has culm length of 82 cm, and relatively semi-erect pubescent leaf blade and slightly tough culm tolerant to lodging with good canopy architecture. This variety has 13 tillers per hill, 126 spikelets per panicle and 90.2% of ripened grains. "Cheongcheongjinmi" showed lower spikelet fertility than Sobibyeo when exposed to cold stress. This variety showed slower leaf senescence and lower viviparous germination compared to Sobibyeo during the ripening stage. "Cheongcheongjinmi" is susceptible to blast disease, bacterial blight, virus diseases and planthoppers. The dried plant weight, total nitrogen and RuBisCO activity of "Cheongcheongjinmi" were higher than those of Sobibyeo in low level nitrogen application. The milled rice of "Cheongcheongjinmi" exhibits translucent, clear non-glutinous endosperm and medium short grain. It shows lower protein and amylose contents than those of Sobibyeo, and better palatability of cooked rice compared to Hwaseongbyeo. The milled rice yield of this cultivar is about 5.10 MT/ha at low level nitrogen application of ordinary season culture in local adaptability test for three years. Especially, "Cheongcheongjinmi" has better milling properties such as the percentage of whole grain in milled rice and milling recovery of whole grain, respectively than those of Sobibyeo. "Cheongcheongjinmi" would be adaptable to middle plain areas and middle-western coastal areas of Korea.

• (The) Research of the performance art and culture
• /
• no.18
• /
• pp.257-282
• /
• 2009

Le $th{\acute{e}}{\hat{t}}re$ musical en $Cor{\acute{e}}e$ est devenu aujourd'hui une mode. Beaucoup parlent de musical, mais beaucoup de musicals sont $mont{\acute{e}}s$ sur la $sc{\grave{e}}ne$ sans des recherches $n{\acute{e}}cessaires$ suffisantes. C'est pour cette raison que la plupart des spectacles musicaux qui sont $cr{\acute{e}}es$ en $Cor{\acute{e}}e$ sont $destin{\acute{e}}s$ en faillite $d{\grave{e}}s$ la naissance. D'ailleurs les musicals $liscenci{\acute{e}}s$ par $l^{\prime}Am{\acute{e}}rique$, la France qui sont $mont{\acute{e}}s$ sur la $sc{\grave{e}}ne$ de $Cor{\acute{e}}e$ aujourd'hui sont assez pour nuire le $march{\acute{e}}$ $cor{\acute{e}}en$ $constitu{\acute{e}}$ autour de musical. Quels sont donc les $probl{\grave{e}}mes$ que posent les musicals $liscenci{\acute{e}}s$? $Premi{\grave{e}}rement$ ils encouragent la mime, pas la $cr{\acute{e}}ation$. En d'autre terme, les musicals $liscenci{\acute{e}}s$ que les $Cor{\acute{e}}ens$ montent sur la $sc{\grave{e}}ne$ ne sont pas les $cr{\acute{e}}ations$ propres chez les $Cor{\acute{e}}ens$, par contre, ces derniers sont $demand{\acute{e}}s$ de suivre ${\grave{a}}$ la mot les indications $dict{\acute{e}}es$ par le droit d'auteur. Les $cr{\acute{e}}ateurs$ $cor{\acute{e}}ens$ ne sont pas libres de $cr{\acute{e}}ation$. $Deuxi{\grave{e}}mement$ les musicals ${\grave{a}}$ la mode ont pouvoir de $d{\acute{e}}truire$ la $diversit{\acute{e}}$ de l'homme. L'homme se $caract{\grave{e}}rise$ par la $diversit{\acute{e}}$ et se $diff{\grave{e}}re$ l'un par rapport ${\grave{a}}$ l'autre. C'est l'essence de l'homme. Tous sont $diff{\acute{e}}rents$. Pourtant le musical qui $r{\grave{e}}gne$ sur tous genres de spectacles d'aujourd'hui de $Cor{\acute{e}}e$ ne laisse pas vivre d'autres genres de spectacles, la danse, le $th{\acute{e}}{\hat{a}}tre$, etc. Seul le musical est $compt{\acute{e}}$. $Troisi{\grave{e}}mement$ le musical ne peut pas nier $compl{\grave{e}}tement$ son origine commerciale. En fait le musical est devenu une chose important depuis des investigations immenses par le gouvernement $d^{\prime}Am{\acute{e}}rique$ pour donner des travails aux gens. Donc, $d{\grave{e}}s$ le $d{\acute{e}}but$, il n'y avait pas de $consid{\acute{e}}rations$ artistiques dans et sur le musical. Comme c'est par le commerce que le musical est $r{\acute{e}}pandu$, s'il y aura un $probl{\grave{e}}me$ quelconque, il est $tr{\grave{e}}s$ possible qu'on cherche ${\grave{a}}$ $r{\acute{e}}soudre$ le $probl{\grave{e}}me$ par la vue de commerce. En comprenant les $probl{\grave{e}}mes$ $mentionn{\acute{e}}s$ $l{\grave{a}}$-dessus, il faut $pr{\acute{e}}parer$ le changement de $march{\acute{e}}$ $cor{\acute{e}}enne$ de musical. Le moyen le plus $su{\hat{r}}$ de se $pr{\acute{e}}parer$ est de trouver la $r{\acute{e}}solution$ dans la culture. Pourtant cette $derni{\grave{e}}re$ ne signifie pas la tradition comme $c^{\prime}{\acute{e}}tait$ le cas $jusqu^{\prime}{\grave{a}}$ aujourd'hui, car les $Cor{\acute{e}}ens$ ne sont pas ${\acute{e}}duqu{\acute{e}}s$ par cette $derni{\grave{e}}re$. La $modernit{\acute{e}}$, disons occidentale, traverse la $Cor{\acute{e}}e$. Donc, la signification du mot 'culture' doit ${\hat{e}}tre$ $bas{\acute{e}}e$ sur la tradition et la $modernit{\acute{e}}$ en $m{\hat{e}}me$ temps.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.32 no.3
• /
• pp.32-45
• /
• 2014

The study attempts to interpret original location and landscape composition of Yowol-pavilion Garden under the premise that tablet and poetry are important criteria for inference of unique location and landscape composition of a pavilion garden. The study raises the meaning, status, and value of Yowol Pavilion Garden as a cultural asset. The results of the study are as follows. First, Yowol-pavilion Garden was a place where famous Confucius scholars in Joseon Dynasty in 16th Century, including Kim, Kyung-Woo, the owner of the garden, used to share the taste for the arts and poetries with their colleagues. Along with a main characteristic of Yowol Pavilion Garden as a hideout for the Confucius scholars who stayed away from a political turmoil, the new place characteristic of the garden, a bridgehead for the formation of regional identity, was discovered in the record of "Joseon-Hwanyeo-Seungram Honam-Eupji JangSeong-Eupji", As described in "The first creative poetry of Yowol-pavilion", the intention for the creation of Yowol-pavilion Garden and the motive for its landscape composition is interpreted as a space of rivalry where the world, reality and ideals are mixed up. Second, related to outstanding scenic factors and natural phenomena when taking a view from the pavilion, the name of the house 'Yowol', which means 'Greeting the moon rising on the Mt. Wolbong' is the provision of nature and taste for the arts, and is directly connected to the image of leaving the worldly. In other words, the name was identified to be the one that reflected the intention for landscape composition to follow the provision of nature separating from joy and sorrow of the mundane world. Third, as for the location, it was confirmed through "YeongGwang-Soksu-Yeoji-Seungram" that Yowol-pavilion Garden was a place where the person who made the pavilion prepared for relaxation after stepping down from a government post, and literature and various poetry show that it was also a place of outstanding scenic where Yellow-dragon River meandered facing Mt. Wolbong. Especially, according to an interview with a keeper, the visual perception frequency of the nightscape of Yowol-pavilion Garden is the highest when viewing by considering the east, the direction of Yellow-dragon River, as Suksigak[normal angle's view], towards Yowel-pavilion from the keeper's house. In addition, he said that the most beautiful landscape with high perception strength is when the moon came up from the left side of Yowol-pavilion, cuts across the Lagerstroemia india heal in front of Yowol-pavilion, and crosses the meridian between Mt. Wolbong peaks facing Yowol-pavilion. Currently, the exposure of Yowol-pavilion Garden is $SE\;141.2^{\circ}$, which is almost facing southeast. It is assumed that the exposure of Yowol-pavilion Garden was determined considering the optimized direction for appreciating the trace of the moon and the intention of securing the visibility as well as topographic conditions. Furthermore, it is presumed that the exposure of Yowol-pavilion Garden was determined so that the moon is reflected on the water of Yellow-dragon River and the moon and its reflection form a symmetry. Fourth, currently, Yowol-pavilion Garden is divided into 'inner garden sphere' composed of Yowol-pavilion, meeting place of the clan and administration building, and 'outer garden sphere' which is inclusive of entrance space, Crape Myrtle Community Garden and Pine Tree Forest in the back. Further, Yowol-pavilion Garden has been deteriorated as the edge was expanded to 'Small lake[Yong-so] and Gardens of aquatic plants sphere' and recently-created 'Yellow-dragon Pavilion and park sphere'. Fifth, at the time it was first made, Yowol-pavilion Garden was borderless gardens consisting of mountains and water taking a method of occupying a specific space of nearby nature centering around pavilion by embracing landscape viewed from the pavilion, but interpreted current complex landscapes are identified to be entirely different from landscapes of the original due to 'Different Changes', 'Fragmentation' and 'Apart piece' in many parts. Lastly, considering that Yowol-pavilion Garden belongs to the Cultural Properties Protection Zone, though not the restoration to the landscapes of the original described in tablet and literature record, at least taking a measure from the aspect of land use for minimizing adverse effect on landscape and visual damage is required.