• Child Studies in Asia-Pacific Contexts
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• v.5 no.1
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• pp.51-62
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• 2015

This study examined the role of ethnicity and extended family relationship in the longitudinal patterns of unmarried resident fathers' engagement with young children in the U.S. Using three waves of panel data from the Fragile Families and Child Wellbeing Study (FFCWS), data obtained from 292 respondents were analyzed by the Linear Mixed Effects Regression (LMER) method. Findings suggested that Black unmarried resident fathers exhibited more engagement with their infants at age one than their White counterparts did, but the initial difference reversed by age five as a result of decreasing engagement among Black fathers over time and comparatively increasing engagement among Whites. Results also suggested that Black unmarried resident fathers with a high relationship level with their extended family members exhibited less engagement with their infants than Black fathers with a low relationship level, but the initial difference reversed by age five as a result of decreasing engagement among Black fathers with a low relationship level over time and comparatively increasing engagement among Black fathers with a high relationship level.

• English Language & Literature Teaching
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• v.15 no.3
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• pp.315-332
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• 2009

The purpose of this paper is to scrutinize how Parks recalling, deconstructing and reconstructing African-American memories of the absences in American history through a black Lincoln impersonator named, The Foundling Father or The Lesser Known. Parks unearths and reconstitutes a significance for the historical event of Lincoln's assassination by repetitive mimicry and verbal puns. As a pun of the Founding Father, the Foundling Father reminds us of Abraham Lincoln, one of the most venerated figures in American history. In the first act, the black Foundling Father performs as The Great Man. This inverted minstrel show of the black Foundling Father performing a white Lincoln exposes the desire of the Foundling Father to insert his narrative within the history of America. With a series of assassinations, the African-American performers figuratively murder the power and control of the American myth. In the second act, his wife Lucy and his son Brazil dig relics from the past out of 'The great hole of history' instead of the Foundling Father. Digging and burial for African-Americans are their livelihood and their calling as well. As Parks pointed out, they should locate the ancestral buried ground, dig for bones and find bones because so much of African-American history has been unrecorded, dismembered and washed out. Parks leaves the possibilities of digging and burying on the black history through Lucy and Brazil.

• English Language & Literature Teaching
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• v.12 no.1
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• pp.205-220
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• 2006

This paper argues how Adrienne Kennedy embodies the features of a black woman's self-identity in Funnyhouse of a Negro. An educated young black woman, Sarah lives in a funnyhouse which is surrounded by mirrors. The reflections in the funnyhouse's mirrors are a metaphor of a black woman's life in America. Sarah's narrative is played out by four "selves," differing by sex and race. These selves imply her mixed cultural heritage. Two white women symbolize white European royalty, Jesus expresses christianity which is the basis of western culture and Lumumba represents Africa. Sarah's desire for whiteness is concentrated on skin color and hair. She longs for pallid skin and straight hair of the white race. Sarah wanted to be white, but her "tainted blood" by her black father made that impossible. Sarah is always obsessed by the fear of her father and the unhappy destiny of her mother. Ceaseless knocking, paralyzed images of lifelessness and surreal dreams effectively show her fear. Sarah's selves remain fragmented in the funnyhouse. Sarah exposures the black woman's anger and frustration through her death. Her death is a gesture of denial and refusal of the dominant society. At the same time, it was her last choice and struggle not to completely lose her own identity.

• Cross-Cultural Studies
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• v.21
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• pp.139-164
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• 2010

Sung Yung Shin was adopted as a Korean infant to an American family. She is now one of the most important writers in Asian American literary field. This paper analyzes the characteristics of her literature, focusing on Skirt full of Black (poetry)and Cooper's Lesson(children's book). Sun Yung Shin uses collage in Skirt full of Black as an effective rhetorical device because it can express her experience as an adopted other in the multicultural American society. She rewrites the fairy tale of Swan Prince in the viewpoint of silence. For a yellow Asian adopted woman, speaking is suppressed. In the end, the attempt to escape from silence is the writer's resisting activity, and the rewriting of the tale is her questioning in place of the princess. I analyses Cooper's Lesson in the viewpoint of transcultural assimilation. Cooper's lesson is accomplished not by his white father but by a Korean settler, Mr. Lee. Cooper's family is a hybrid composed of white American father, Korean mother, and their half son. So this family has many complicated difficulties, though it's small. Mr. Lee who accepted a new language to establish a new identity teaches Cooper the importance of cultural assimilation, which is not a one-sided integration to dominant culture but an intercultural communion while sustaining each culture's singularity. Cooper learns that he should live in an harmonious and balanced life in a multi-cultural society while keeping his own subjective point of view.

• Journal of Korean Society of Forest Science
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• v.10 no.1
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• pp.5-6
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• 1970

Abies koreansa Wilson grows at the upper part of Mts. Halla, Chiri, Mudung, Kaji and Dokyu. It was at first collected by Father U. Faurie on the May of 1907 from the Mt. Halla, Quelpaert. Cone colour of this species varies from green to black purple and the typical colour of it is violet purple. A form of black purple was named by Hatushima in 1934. Green and reddish brown or reddish purple colours of this species were discovered recently at the Mt. Halla. All these forms can be identified as the following. for. koreana - Abies koreana Wilson in Journ. Arn. Arb. 1, 188(1920) ; Mori, En. 27(1922) ; Uyeki, Timb. Tr. 117(1926) et Woody Pl. 5(1940) ; Chung et al, Comm. Nam. 12(1937) ; Handb. Kor. Manch. For. 71(1939) ; Kawamoto, III. For. P1. 16(1940) ; T. Lee, Arb. Kor. 12(1947) et Billiogr. Woody P1. 233(1966) ; Nakai, Synopt. 23(1952)-A. nephrolepis sensu Nakai, Rep. Veg. Chirisan 23, no. 27(1915) et Rep. Veg. Quelpaert Isl. 13, no. 142 (1915), non Max. (1866) Strobili violaceo-purpurei, bracteis viridibus juvenilibus vel stramineis matureis. Mt. Halla ( Lee, no. 970527K. ) for. chlorocarpa, forma nova ; Strobili et bracteae viridi sed rubescent in apice juvenili inflerescentiae. Mt. Halla ( Lee, no. 970527C. ) for. rubrocarpa, forma nova ; Strobili et bracteae rubro-purpurei vel rubro-fusui Mt. Halla ( Lee, no. 970527R. ) for nigrocarpa Hatushima, Rep. Exp. For. Kyushu U. 40(1934) ; T. Lee, Arb. Kor. 12(1947) et Bibliogr. Woody P1,233(1966). Strobili et bracteae nigro-purpurei. Mt. Halla (Lee, no. 970527N. )

• Journal of the Korean Society of Food Culture
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• v.4 no.2
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• pp.125-143
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• 1989

To analyze daily meal of royal meal, studied Soora Sang were on record Wonheng Ulmyo Jungri Euigwae(1795). Historic book 'Jungri Euigwae' described the king's visit to his father's royal tomb 'Hyun Neung Won', during the domain of Cheung Jo, the 22nd King of Choson Dynasty. The results obtained from this study are as follows. A dining table was round table with feet as black lacquer. Vessels were brazen vessel, silverware and earthenware. Kinds of dishes indicated as the number of vessels (sets). Food was arranged in two kinds of table, the first one called the main table, the second the side table. The number of sets to be arranged on the table were different according to the royal status of the eater. 15 sets for king's mother, 7 sets for the king and his elder sister, the latter sets being arranged on a single table. Soy and bean paste were ruled out from kind of sets. Kinds of dishes served with a meal generally were cooked rice (飯), soup (羹), heavy soup (助致), jerked meat (佐飯), meat fish and others broiled with seasoning (灸伊), salted fish shrimp and etc, cooked potherbs and potherbs (菜), pickled vegetables (沈菜, 淡沈菜) soy and bean paste (醬). The meat and fish and vegetable in the composition of a menu were well arranged.

• Horticultural Science & Technology
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• v.31 no.6
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• pp.833-836
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• 2013

'Hei' is a new cultivar of red with black flesh; originated from the cross of two inbred lines, mother plant, TKUI separated from 'Kame' in 2007 and father plant, TLB separated from tomato collected in Europe by pedigree breeding method. 'Hei' was tested for specific character and productivity of lines of tomatoes in spring for 2 years, 2008 to 2009. This variety had resistance to powdery mildew. 'Hei' is an indeterminate type. The fruit shape is round and the skin color is blackish red. The average fruit weight of 'Hei' is about 127.9 g and marketable yield is $5,715kg{\cdot}10a^{-1}$. Lycopene contents of 'Hei' are about $18.5mg{\cdot}100g^{-1}$, high compared with other tomato ($3.1mg{\cdot}100g^{-1}$). 'Hei' is suitable for environment-friendly protected cultivation because of resistance to powdery mildew.

• Journal of Information Technology Applications and Management
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• v.28 no.3
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• pp.77-87
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• 2021

The color gray in the cinema expresses the private or public memory and oblivion in the reminiscence scenes. The aesthetic function and meaning of gray that interacts with other elements in cinematic time and space are expanded in various ways. This study was analyzed the cases in which gray was used as the main visual style by limiting the scope to Korean films. Based on the traditional cultural symbolic meaning of gray, I analyzed how it was applied and transformed in films, and interpreted the cultural-social meaning by the interaction between gray and other elements. In film history starting from monochrome, gray has been used as a visual device suitable for realizing cinematic or imaginary reality. Gray is adopted when dreams or recollections are visualized as imaginary reality, and it is used when dreamy imaginations of daydreaming are demonstrated. Gray, which reproduces the dreamlike reality of imagination, is the concrete and realistic way of expression. First, in Korean films, gray is a flashback visual device that recalls the past, and is an intermediary visual form that materializes the imaginary. In films such as Ode to My Father (2014), DongJu (2015), A Resistance(2019) and The Battle : Roar to Victory (2019), the gray of the past is a visual device for cultural memory that builds the homogeneity and identity of the group. In the era of hyper-visibility, gray in black and white images is intended to be clearly remembered by unfamiliarity rather than blurry oblivion by familiarity. Second, in genre films with disaster materials such as Train To Busan (2016) and Ashfall (2019), the grays of rain, fog, clouds, shadows and smoke highlight other elements, and the gray color causes anxiety and fear. In war films such as TaeGukGi: Brotherhood Of War (2003) and The Front Line (2011), gray shows a more intense brutality than the primary color. In sports films such as 4th Place (2015), Take Off (2009) and Forever The Moment (2007), gray expresses uncertainty and immaturity. Third, gray visualizes the historical memory of A Petal (1996), the oblivion in Oh! My Gran (2020) and Poetry (2010), and the reality of daydreaming Gagman (1988) and Dream (1990). At the boundary between imagination and reality, gray is a visual form of dreams, memories and forgetfulness.

• The Korea Journal of Herbology
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• v.32 no.3
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• pp.89-95
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• 2017

Objectives : Seborrheic dermatitis is common abnormal skin condition characterized by flaking and itch. In seborrheic dermatitis, the flakes are greasy and yellowish. Inflammation is also observed. Through this paper we can understand the process of seborrheic dermatitis of the scalp and confirm the scalp changes in the treatment process. The purpose of this study was to report the clinical effects of herbal medicine on Seborrheic dermatitis Methods : We employed oriental medical treatments; herbal-medication (Hyeongbangpaedoksangamibang), infant acupuncture, moxibustion and blood therapy. We treated her three times a week. She took medicine three times a day after a meal. During taking medicine, we let her avoid fatty food, flour based food. Her father took a picture the patient's head parts and we compared the symptom with previous symptom. With the picture, we evaluated the patient's scalp condition. Results : After taking treatment, the scalp condition of the patient was much improved. At first, yellowish to reddish scaly pimples appear along the hairline and itching was severe. There were thick and black crusts on the scalp, red, greasy skin covered with flaky white or yellow scales. After that the crusts were fell off and the itching was disappeared during the treatment period. And then the hair loss was occurred. After a year of treatment, scalp condition and hair were back to normal. Conclusion : Herbal medicine (Hyeongbangpaedoksangamibang) with oriental medical treatments was effective in the treatment of seborrheic dermatitis of the scalp and it helped to improve regenerating the scalp condition.

• Sim-seong Yeon-gu
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• v.30 no.2
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• pp.145-186
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• 2015

This thesis discusses and analyzes Jeju island's shamanistic myth "Samgong Bonpoori" from the perspective of analytical psychology. Similar to the "I live on my fortune"-type folktales discovered in the Korean mainland, "Samgong Bonpoori" is such a widespread myth that similar folktales are found not only in East Asian regions, including Korea, Japan, and China, but also in Ireland. The essence of the story is as follows; One day, a father asked his three daughters whose fortune they lived on. The first two daughters claimed that they owe their lives to their parents. However, the youngest daughter, Gameunjang-agi, replied, against his expectation, that "I live on my own fortune," and showed her fortune and virtue were physically embodied in the line drawn from her genitals to navel. Her answer enrages his father so fiercely that she was expelled and forced to embark on a journey with no one but a black cow carrying food to accompany her. In retaliation for telling lies against her, Gameunjang-agi transformed her two sisters into a centipede and a mushroom, while her parents were turned into beggars afflicted with blindness. Afterward, Gameunjang-agi wandered around the country and eventually found love with a Chinese yam digger. Not long after, they got married, and as a couple, they stumbled upon roots of gold in fields, which brought them an incredible amount of wealth. After this miracle has happened, Gameunjang-agi began to wonder about the status of her parents and decided to organize a party for all the beggars and the blinds in the country. She eventually found her parents and got a chance to reconcile with her sisters. The story ends with her parents regaining their eyesight and Gameunjang-agi reestablishing herself as the "Goddess of Providence." "Samgong Bonpoori" is a myth about a God. A God is ontologically a supremely perfect being; however, in this thesis, it will be discussed as a part of a folktale. Gameunjang-agi can be seen as the anima archetype of the father, which reveals the process of a paternal consciousness being transformed over time. At first, her parents deny Gameunjang-agi. However, after years of suffering from blindness, they regain their eyesight and finally recognize their daughter. This signifies that Gameunjang-agi is a being that has come into the world for a certain "purpose." Gameunjang-agi embodies the creative function of "femininity" that can renew the existing collective consciousness embedded in the patriarchal system. Such recognition of femininity matters to men to a great degree as well as to women. Without knowing their true nature (femininity), the two sisters submit themselves to their parents and conventional values. Not until they suffer from being transformed and captured into small and insignificant beings, a centipede and a mushroom, which symbolize their shadow, they fail to develop their self-awareness. Meanwhile, by reconciling with her parents and sisters--playing a significant role in reuniting the family--Gameunjang-agi turns out to be a figure that can reveal what it truly means to have self-awareness and achieve Self-realization. In conclusion, this story illustrates that recognition of femininity matters to men to a great degree as well as to women, and women's Self-realization plays a critical role in revitalizing the collective consciousness embedded in the patriarchal system.