• The Korean Journal of Applied Statistics
• /
• v.13 no.2
• /
• pp.225-236
• /
• 2000

To compile seasonally-adjusted statistics for Korean economic statistics accurately. it is necessary to develop a Korean seasonal adjustment program. In this paper. the Korean seasonal adjustment program BOK-X-12-ARIMA, developed through modification of the US. Bureau of the Census's X-12-ARIT\IA, is explained in detail.

• Journal of the Korean Society of Costume
• /
• v.63 no.7
• /
• pp.31-48
• /
• 2013

It goes without saying that Yi Mae-Bang, as the sole owner of two of the intangible cultural assets including No. 27 Seungmu in 1987 and No. 97 Salpuri Chum, is a top-notch Korean traditional dancer. Moreover, in regards to traditional clothing, he is also known as the only traditional dancer who directly performs on stage as well as analyzes traditional clothing in order to apply them into his own dance performances by designing and producing them to meet his artistic spirit. In order to examine how Yi Mae-Bang's unique and creative stage clothing was developed, and what kind of process it went through to possess its unique style, which draws the attentions of people with its harmony of beauty and dance, this research first examined the change of the composition through the yearly picture data. Before 1984, the composition of the Salpuri Chum clothes changed by putting on 'Jeogori' on the 'Mudong-Bok' without the 'Kweia' (sleeveless), and in 1999 'Mudong-Bok' became widened with the decoration of embroidered hem making it more attractively colorful. after 2000 it became more splendidly adorned by embroidering hem on widened Mudong-Bok and tucking 'Kweja' in the layers which created silhouette like a dress that is seemingly wider and luxuriant than a skirt. One of notable features of Yi Mae-Bang's Salpuri is that its cloth and cuff ribbons are lightly colored in different colors enclosing the tip part. As for the ribbons, it was also changed as time went by from direct-cutting of the cloth just like the A-line of Mudong-Bok to drawing a diagonal line less than 5cm above the ribbon and 8cm below the ribbon so that it takes the form of getting widened as it gets to the lower part, and its length was also elongated in proportion to that of the bottom of Mudong-Bok.

• Proceedings of the Korea Technology Innovation Society Conference
• /
• 2013.10a
• /
• pp.3-15
• /
• 2013

• 대한핵의학회:학술대회논문집
• /
• 1985.05a
• /
• pp.168.1-168.1
• /
• 1985

• Proceedings of the Materials Research Society of Korea Conference
• /
• 2005.05a
• /
• pp.197-197
• /
• 2005

• Proceedings of the Materials Research Society of Korea Conference
• /
• 2005.05a
• /
• pp.198-198
• /
• 2005

• Proceedings of the Materials Research Society of Korea Conference
• /
• 2005.05a
• /
• pp.196-196
• /
• 2005

• Proceedings of the Korean Radioactive Waste Society Conference
• /
• 2011.10a
• /
• pp.247-248
• /
• 2011

• The Research Journal of the Costume Culture
• /
• v.7 no.5
• /
• pp.33-45
• /
• 1999

Examine the dress which the Emperor actually wore in Gun-ryung 42nd year of Ching dynasty, comparison of 《Cheong-hoi-jeon-do》 with the Emperors year-round dress in Gun-ryung the 41st year was made and summarize the result as follows. It was used almost similar to the code of 《Cheong-hoi-jeon-do》. Though the materials and colors were more diverse than those of the previous year, it seems that actual use of material was plain under the influence of mourning. All the materials for summer hat were rattans. And velvet was the material for the patrol hat, but actually used before they change to summer material after fur use was over according to the season, which can be said as more reasonable use than the code. Materials of coat were more diverse than the precious year and also they put on ko-hemp cloth which was not found in the previous year. This can be understood that they expressed their guilt-consciousness to the dead as dress material by wearing ko-hemp cloth during the summer after periiod of mourning was over. And they put on the ko-hemp, the Emperors ordinary dress, much longer time than the previous year and this seems to be coherent to the meaning of wearing ko-hemp cloth. They followed the Emperor\`s Jo-bok1 one for the Kae-bok which were not systematized and Jae-dae used Jo-dae2 as the Emperor\`s Jae-bok in 42nd year. This was the same as the Jae-bok code of the previous year. Jo-ju did not follow the code of 《Cheong-hoi-jeon-do》, but made a wide variety. For the belt, the same as 41st year, it marked the gem decoration style on the Jae-bok belt as a square type and mourning dress by using the round type. The Emperors dress in 41nd year showed one side of the patrol clothes by the patrol of San-dong. On the contrary, it was also the chance to see one side of funeral garments in 42nd year. In Gun-ryung 42nd year, the Emperor put on the funeral garments for hundred days. Accordingly even in parts, we can see that the Emperor wore two kinds of dress for hundred days, that is, color dress and white dress and white dress. While on duty, in other words, everyday dress was only blue color and also the same color for the belt and shoes. But didn\`t put on Jo-ju. When they were in mourning, they wore white dress and belt as a funeral garments, which were called Hyo-bok, Hyo-bok.

• Korean Journal of Food Science and Technology
• /
• v.37 no.4
• /
• pp.574-578
• /
• 2005

Effects of different yeast strains on physicochemical characteristics of Bokbunja (Rubus coreanus Miq.) fruits alcohol fermentation were investigated. Bokbusnja fruit must was inoculated with Saccharomyces cerevisiae KCCM 12224 (Sc-24), wild-type Bokbunja yeast (Bok-3), Saccharomyces coreanus (Yak-7), and Sc-24+Yak-7. Ethanol contents of Sc-24, Bok-3, Yak-7, and Sc-24+Yak-7 were 11.08, 10.62, 10.18, and 10.26%, respectively after 10 days fermentation. Addition of pectinase (500 ppm) increased ethanol content by 0.1-1.5%. Organic acids of Bokbunja wine were citric, malic, shikimic, formic, and oxalic acids. Citric and malic acid contents remarkably decreased, whereas that of acid increased by fermentation. Total acidity of Bokbunja wine was dependent on citric acid content. Sc-24, Yak-7, and Bok-3+ pectinase were more efficient for improvement of wine-color, although color values of Bokbunja wine significantly decreased during early stage of fermentation. Sc-24 and Bok-3+500 ppm of pectinase, and 8-10 days of fermentation could enhance quality of Bokbunja wine.