• Korean Journal of Soil Science and Fertilizer
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• v.40 no.1
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• pp.98-107
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• 2007

Most of plastic film house plots in Korea have salinity problems caused by salt accumulations associated with continuous cropping including the heavy applications of chemical fertilizers, and high evapotranspiration. The objective of this study was to investigate soil properties and watermelon (Citrullus lanatus Thunb.) productivity in plastic film houses as influenced by the short-term crop rotation in the continuous watermelon-cultivated soils. The short-term rotational crops selected were corn, Chinese cabbage, radish, young radish, lettuce, spinach, and onion. Soil pH increased in most plots where a short-term crop was added to the crop rotation, except where radish was added. The content of soil organic matter significantly decreased in the lettuce-cultivated plot. The available phosphorus content in the soils increased with the cultivations of spinach and onion. Exchangeable Ca and Mg tended to increase in most of plots where a short-term rotational crop was grown, whereas the exchangeable K was clearly reduced by more than 50% in the same plots. Cultivation of rotational crops during the post-harvest season significantly decreased the electrical conductivity (EC) and the concentrations of soluble anions, such as chloride ($Cl^-$), nitrate ($NO_3{^-}$), and sulfate ($SO{_4}^{2-}$) in the soils. In particular, the EC decrease was related with the decrease in soil $K^+$ to $Ca^{2+}$ and $Mg^{2+}$ ratio. In all plots cultivated with the shot-term rotational crops, the ratios of bacteria to fungi (B/F) increased. However, the improvement in soil properties after adding a rotational crop did not result in a clear improvement in watermelon quantity or quality as measured by fruit weight and sugar content. Therefore, the addition of short-term rotational crops to a continuous watermelon cropping system would be beneficial to improve target soil properties in plastic film house plots studied.

• Korean Journal of Soil Science and Fertilizer
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• v.29 no.4
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• pp.347-352
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• 1996

These experiments were conducted to monitor the change in $NO_3{^-}-N$ in a plastic film house where $NO_3{^-}-N$ have been accumulated in the soil of high level (about 370 mg/kg) The objective of this study was to obtain the information needed to establish the N Fertilizer recommendation based on the available N content in the soil for vegetable cultivation. The cultivated crops were chinese cabbage in the spring, lettuce in the summer, and chinese cabbage in the autumn. The crops were cultivated with and without N application. The concentration of $NO_3{^-}-N$ in the soil was analysed before and after the cultivation of each crop. When $NO_3{^-}-N$ in the soil is as high as 370 mg/kg. even without N application, the yield of the first season crop, cabbage in the spring was 175 ton/ha and that of second season crop, lettuce in the summer was 53 ton/ha. These yields were comparable with those obtained under the application of N fertilizer: meaning that no N application would be needed for those crops when $NO_3{^-}-N$ in the soil is as high as 370 mg/kg. The yield of third crop, cabbage in the autumn was higher under N application than that under no N application by 62%. The fate of $NO_3{^-}-N$ in the soil differed along with the crop sequence. In the first crop, 14.5% was absorbed by crop, 25.4% remained in the soil and 60.1% was unaccounted for. In the second season, 25.3% was absorbed by crop, 51.8% remained in the soil and 22.9% was unaccounted for. In the third crop, 62.8% was absorbed by crop, 19.4% remained in the soil and 16.8% was unaccounted for.

• Cartoon and Animation Studies
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• s.35
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• pp.209-226
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• 2014

Chinese cartoon industry lately was able to see a rapid development which changed cartoon creative personnel associated with increased production technology development, new technologies, government support policy and a variety of environments. It was likely to have high expectations for changes in the policy environment of the country supported the comic creators and authors to develop its own comic industry. The State Administration of Press, Publication, Radio, Film and Television of China promoted the production for the development of Chinese animation with "domestic little video about the development of the animation industry's opinion", and "documents Documents". Animation industrial base and animation education was established in institutions such as the organization one after another. In the meantime, the spread of Japanese comics picture on the creative activation admitted but their comic creation and activation was slump. It would produce that the creation of its traditional culture based activation strategy to built comics. Since 2004, It was well represented for the creators of the cartoon creation of the tradition and uniqueness of Chinese history. In the prior to 2004, comics and strategies was to be differentiated. Today, China is an important source of comic marked the fact that the tradition was recognized and it was further developed with combining creativity of the past and the present production system. Comic creators comic story of traditional culture were excavated in order to have a sense of awareness and modern. The difference between China Cartoon and comics in other Asian countries is true that cartoon story came out naturally in a traditional culture. In this study, It would lead in the future to allow directional presented for the digital cartoon making development policy awareness through the comic creation and production of new media content industry enabled to China. Now, in the new media industry for the development of China's neighboring countries coped with climate change for the active exchange of information. It poured out ceaseless technical development and a range of policies to support business expansion. New China Cartoon was leaped to re-fit the industry.

• Korean Journal of Soil Science and Fertilizer
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• v.31 no.4
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• pp.350-358
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• 1998

To determine the optimum application of fertilizers for the cultivation of tomato in plastic film house, eighteen soils which contained different salt contents were taken from four different areas under plastic film house cultivation, Youngdong, Boeun, Cheongweon county, and Cheongju city. The dry weight and the amount of N, P, and K uptakes of tomato in the plot with no fertilization were considered as the factors representing the fertility of the soil. The differences in the dry weight and in the amounts of N, P, and K uptakes of plants between the plots with fertilization and with no fertilization were considered as the factors representing the total effect of fertilizer and the effects of fertilizer N, P, and K, respectively. These factors of soil fertility and fertilizer effects were estimated by correlation and regression with the chemical properties of the soil in order to find the critical levels and recommended method for optimum fertilization of tomato. The standardized partial regression coefficients of inorganic nitrogen ($NO_3-N+NH_4-N$) contents in soil for the factors of fertility ranged from 247 to 1,159, showing the best, while those of the others ranged from 0.02 to 4.02. Those of inorganic nitrogen ($NO_3-N+NH_4-N$) contents in soil for the electrical conductivity were also the best and were ranged from 35.2 to 36.0 compared with the values of less than 1.0 of the others. These results demonstrate that the content of inorganic nitrogen in the soil is the best index for both soil fertility and electrical conductivity of the soil. The critical level of inorganic nitrogen ($NO_3-N+NH_4-N$) in the soil for maximum productivity with zero value of fertilizer effects for tomato, estimated through Cate-Nelson split method was $220mg\;kg^{-1}$. This was the same value as evaluation for the cultivation of chinese cabbage. In conclusion, for optimal application of fertilizer in plastic film house, 1) no fertilization is recommended when the contents of inorganic nitrogen in the soil is more than $220mg\;kg^{-1}$; however, 2) in the case of less than $220mg\;kg^{-1}$ of inorganic nitrogen content in the soil, the optimal level of fertilization could be estimated through the regression equation between fertilizer effects and content of inorganic nitrogen in the soil.

• Cartoon and Animation Studies
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• s.45
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• pp.479-512
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• 2016

This is a practice-based research, aiming to explore the experiments of Animated Documentary, which is a unique form can explore the mysteries and complexity of memories. Animated Documentary is a medium through which one can reveal an individual's memories within the context of a narrative that is historically situated and influenced. The marriage of animation and documentary gave birth to a new form of film. How to category this new form? Is it an animated short or documentary short? In fact, this raises issue that questioning the nature of animation and documentary. From Shuibo Wang's works, more young Chinese artists began to experiment with symbols (related to the Political Pop Trend) in visual narration, which could also be seen as a reflection of structuralism and semiology in the contemporary Chinese art field. As a case study, this paper demonstrates how animated short "Ketchup" revealed the problems of youth and social turmoil through the memories of a six-year boy. On the Festivals and conferences, the publics were shocked to know "Ketchup" based on true memories, and they were more curious why the crucial things almost be forgotten. Actually forget fulness is one of the layers of memories and Animated Documentary will offer a new way to explore how our memories are shaped.

• Review of Culture and Economy
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• v.17 no.2
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• pp.63-80
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• 2014

This study evaluates the importance of negotiation agendas and the possibility of reaching the Korea-China FTA agreement. It assesses the current situation of trade barriers in the audiovisual service sector of China and then examines a survey of practitioners and experts to screen important regulations. The results are as follows: First, considering the national economic situation in Korea and the environment of the Chinese trade barrier, an important agenda is to enable the direct service of online games and to reach a co-production agreement in the audiovisual service sector. Second, an agenda regarding the co-production agreement of an audio-visual service sector has high potential to be realized, followed by agendas regarding online game and music services. In the broadcasting and film service sectors, with their high cultural identity, a mutual cooperative approach is needed. Korea bringing up the agenda regarding online service may allow it to gain a net benefit for the next FATs. To realize a mutual cooperative approach, it is necessary to form a frame of mutual interests and cooperation through a co-production agreement of audio-visual service. If both countries agree to acknowledge co-produced content as each country's contents, both would benefit.

• Cross-Cultural Studies
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• v.51
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• pp.193-212
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• 2018

This paper attempts to explore how Ang Lee depicts Asian and Western women in his films. We focus on two parts of his consciousness First, Ang Lee does not consider himself a feminist, he understands the world in terms of women who play societal roles. Second, Ang Lee's films reflect his identity in a juxtaposition model, in which he is a member of mainstream American society and also holds an onlooker's viewpoint at the same time. He depicts women, who are often marginalized or considered the minority, and their feminist ideals, as means that break down the authority of the father and the man, the traditional ideology, and the male dominant nationalism. Chinese women in movies divide apart traditional Chinese patriarchal ideology and male-dominated anti-Japanese sentiments. Also, the Western women in his films reveal the non-stereotypical appearance of Western society in the 1970s and 1980s, with daily tension, anxiety, abdominal pain and anger, silence and anxiety about homosexual husbands, and excessive obsession. The director's portrayal of women not only separates the male-centered and Western-centered discourse, but also reveals a self-division of internalized masculine patriarchal Asian thought consciousness.

• Journal of the Korean Applied Science and Technology
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• v.40 no.2
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• pp.348-354
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• 2023

A tattoo is a cultural form that has been handed down to mankind for a long time. Traditional tattoo customs that have been handed down and developed in the various cultures of mankind have the important value of academic research in various fields such as history, art, society, etc. The Derung people, one of the minorities living in Yunnan Province and nearby areas in the southwest of China, have 'facial tattoo' customs. The traditional culture of the Derung people, which had maintained the form of primitive society until 1949 when the People's Republic of China was established, was passed down through oral tradition, so there are no preserved materials about their tattoo culture, showing the need for research on the culture. Therefore, it was conducted in two ways: a research on modern and contemporary literature and a field trip to Yunnan Province. The exact reason and time of facial tattoo customs are unknown, but the customs disappeared after being banned in 1966 due to the Chinese Cultural Revolution. The symbols and functions of facial tattoos can be largely divided into four categories, including religious worship, coming-of-age ceremonies, aesthetic decorations, and ethnic and social history, through an on-site survey and research by modern and contemporary scholars. And, it is known that women of the Derung People get tattoos from the age of 7 to 8. The design of facial tattoos became more complicated for upper-class women and simpler for lower-class women depending on the area they live. Tattoos are mainly performed by relatives, and mainly bamboo skewers and lixivium extracted from the bottom of the pot are used as the materials. Currently, there are fewer than 25 women of the Derung people with facial tattoos, and most of them are elderly. Therefore, they seem to disappear altogether within a few decades. Therefore, it is urgent to have documentation on the unique facial tattoo culture of the Derung people.

• Trans-
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• v.15
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• pp.81-104
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• 2023

This paper analyzes the danmu phenomenon with the concept of participatory culture proposed by Henry Jenkins. Unlike other comments, Danmu is a function that allows users to post anonymously while watching a video, and comments posted at that time are immediately displayed on the screen and can be viewed by other viewers. The service was first launched by Niconico. In this paper, the danmu phenomenon in the Chinese video platform Bilibili is analyzed by focusing on three aspects. First, in terms of creative sharing under collective intelligence, we explore how users create their own creations and share them with other users through danmu. Second, in the collaboration model under public participation, the method and meaning of collective cooperation through users' interaction is dealt with. Third, in terms of financial support of commercial capital, the influence of danmu videos to create commercial profits is analyzed as a case. In addition, the negative aspects and challenges of participatory culture in Bilibili are analyzed. Negative aspects such as participation gap, copyright infringement, excessive use of danmu and problems of anonymity were reviewed, and major challenges to realize the potential of danmu as a participatory culture were suggested. This paper comprehensively analyzes danmu using research methods such as literature review and case studies, and through this, tries to derive insights on how participatory culture and danmu interact and evolve in modern society. Danmu, as a participatory medium, is an important tool that promotes individual and collective creation and interaction, and is pioneering a new boundary between the media industry and its users.

• Cross-Cultural Studies
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• v.37
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• pp.31-49
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• 2014

Peking has peculiar features as capital city, and has gone through various transformations, with its name changed from Peking to Peiping to Peking. Even when it did not serve as a capital city, it still played an unrivaled role in cultural aspects. Laoshe, a great writer of 'Peking flavour' literature, is famous for works full of cultural charms of Peking. In his works, which show the manners, norms, art, culture and optimistic life style of Peking, Peking culture is described as an extension of cultural traditions of Qiren. In addition, his critical view of reality is also expressed in the works. Linhaiyin's literary works show ordinary hutongs she experienced in the 1920s in Chengnan, the southern part of Peking, and the quiet and simple life of warm-hearted people living there. Her vague memories of Peking, along with her nostalgia for the city, let her describe the city with recreated happy memories of it instead of the harsh critical view. Her works express the city in her recreated memory full of hope, with her dark memories of the city being glossed over. As seen above, Laoshe realistically described the tragic and difficult life of low class people in hutongs of Peking as well as lower middle class people of the city. Meanwhile, in ChengnanJiushi, Linhaiyin expresses the daily routine and ordinary life of people in Peking from the perspective of middle class people. In addition, she showed the sympathetic view of middle class citizens towards their low-class neighbors. In Peking Menghualu, Wangdewei mentioned that the 'castle of memory' which old Peking people in Taiwan tried to establish fills an important gap for the continuity of Peking cultural history and cultural imagination. This indicates that the 'Peking castle of memories,' which Linhaiyin, a Taiwanese writer well known for 'Peking flavour,' has established plays a big role in filling part of such gap. ChengnanJiushi, Wuyigong's film based on Linhaiyin's novel of the same title, also describes the daily sceneries and culture of the southern Peking in the 1920s, which both Taiwanese and Chinese people miss, through sophisticated images with 'profound yearning tinted with calm sadness', accomplishing an artistic achievement different from that of the novel.