• Journal of The Korean Society of Grassland and Forage Science
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• v.38 no.4
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• pp.273-279
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• 2018

This experiment was conducted to investigate the effects of individual management and group management of Jeju cross-bred horses on the physiological characteristics, productivity, and characteristics of the loin muscle of the horse meat. Sixteen herds of Jeju cross-bred horses older than 44 months were selected as experimental subjects. The experiment was conducted by dividing the herds into eight herds for individual management and another eight herds for group management. Herds were fed with concentrated feed of 2.5% of the body weight for four times a day and roughage and water were fed ad libitum. In the 12th week, the intestinal pH was statistically significantly lower with group management than with individual management (p<0.05). However, no symptoms of colic were observed. With regard to the general composition of the loin muscle, fat content was a statistically significant difference between the 7.83% with individual management and 5.65% with group management (p<0.05), indicating that individual management is more effective than group management in terms of fattening. In conclusion, feeding a concentrated feed at a level of 2.5% of body weight with individual management during fattening of Jeju cross-bred horses could be utilized as a fattening method.

• Journal of the Society of Cosmetic Scientists of Korea
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• v.44 no.4
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• pp.363-373
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• 2018

In recent years, parabens used as preservatives in cosmetics have become a problem of human safety. Therefore, in this study, we tried to evaluate the preservative efficacy of 1,3-butylene glycol, 1,2-hexanediol, and 1,2-pentanediol as a preservative system to replace parabens. 1,3-Butylene glycol was added to cosmetic creams at a concentration of between 5 and 25%. The preservative efficacy of 1,3-butylene glycol was determined using a M-3 challenge test, as recommended by the Personal Care Products Council (formally CTFA). The alkane diols, such as 1,2-hexanediol and 1,2-pentanediol, were assessed in a similar manner. An evaluation of the preservative efficacy of 1,3-butylene glycol revealed that it was effective against all tested microbial strains at a concentration of 25%. We also investigated the efficacy of combinations of 0.3% phenoxyethanol and 0.1% ethylhexylglycerin. Finally, we tested the alkane diols, including 1,2-hexanediol and 1,2-pentanediol, as an alternative to the preservative 0.3% phenoxyethanol. Both 1% 1,2-hexanediol and 1% 1,2-pentanediol demonstrated preservative efficacy. Taken together, our study demonstrated that the formulation of 25% 1,3-butylene glycol and 0.1% ethylhexylglycerin, 1% 1,2-hexanediol, and 1% 1,2-pentanediol had the best preservative efficacy of the compositions tested. Thus, this study suggests that the formulation is a possibility of substituting parabens preservatives, which has been used in cosmetics and has become a safety issue.

• Journal of Plant Biotechnology
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• v.45 no.4
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• pp.375-381
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• 2018

The consumption of oats (Avena sativa L.) with high nutritional utility is accelerating due to the increased consumers' demand for functional foods. In Korea, naked oats are used as food, while covered oats are used for animal feed. However, it is difficult to distinguish naked oats from covered oats when the husk is removed from the grains by a special process. The present study was carried out to investigate experimental methods that would be beneficial in the segregation of different types of oats after husk removal. Grain quality-related biochemical compounds were analyzed in a bid to differentiate the oat dehulling characteristics. In addition, 61 SSR markers were examined for genetic relationship and variety identification of oats using five naked and seven covered oat varieties. Results showed that, the contents of protein, lipid, and ${\beta}-glucan$ were not significantly different among the oat varieties and this could not be used as an index for distinguishing oats husk character. However, in the fatty acid composition ratio,, naked oats had a higher ratio of stearic acid (C18:0) and oleic acid (C18:1) than covered oats, and covered oats had a higher ratio of linoleic acid (C18:2) and linoleic acid (C18:3) than naked oats. The assessment of SSR marker genotype revealed that 33 polymorphic bands among 12 oat varieties and 1 variety could be distinguished through the combination of polymorphic markers thus indicating the usability of these markers for variety identification in oats.

• Journal of Plant Biotechnology
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• v.45 no.4
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• pp.382-391
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• 2018

The objective of this study was to determine the most effective medium condition of shoot proliferation and root formation for the efficient in vitro micropropagation of M.26 (Malus pumila Mill). Simple sequence repeat (SSR) markers were used to analyze the genetic diversity of micro-propagated and greenhouse grown M.26. Shoot proliferation was carried out in MS (Murashige and Skoog) containing benzyladenin (BA, $0.5{\sim}5.0mg{\cdot}L^{-1}$) and thidiazuron (TDZ, $0.01{\sim}0.1mg{\cdot}L^{-1}$). The highest number of shoots (10.67 shoots per explant) was induced by adding BA at a concentration $1.0mg{\cdot}L^{-1}$. TDZ treatments caused higher hyperhydricity rate in cultured explants than in BA treatments. There was no significant effect of both BA and auxin on shoot proliferation, and the optimum proliferation medium for M.26 was MS medium containing $1.0mg{\cdot}L^{-1}$ BA. To find a suitable medium composition for shoot rooting, we tested different concentrations indole-3-butyric acid (IBA) and ${\alpha}$-naphthaleneacetic acid ($0.5{\sim}5.0mg{\cdot}L^{-1}$), MS medium (1/4-1), sucrose ($0{\sim}30g{\cdot}L^{-1}$). The shoots showed good rooting on half-strength MS medium containing $1.0mg{\cdot}L^{-1}$ IBA and $15-20g{\cdot}L^{-1}$ sucrose. The rooting rate (100%), number of roots (10.45 ~ 13.60 roots per explant), root length (7.41 ~ 8.33 cm), and shoot length (4.93 ~ 5.38 cm) were good on this medium. Fifteen SSR primers were detected in a total of 30 alleles in 20 micro-propagated plantlets, all SSR profiles from micro-propagated plantlets were monomorphic and similar to greenhouse grown control plantlet M.26 plant. The results indicated that M.26 micro-propagated plantlets were genetically stable.

• Journal of the Mineralogical Society of Korea
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• v.31 no.4
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• pp.267-275
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• 2018

The purposes of this study were to analyze the mineralogical characteristics of slaked lime used for wall repair of traditional buildings in Bagan, Myanmar and to evaluate the physical properties of lime plaster produced by the same method as Bagan region. In the X-ray diffraction and thermal analysis of the Myanmar slaked lime, portlandite ($Ca(OH)_2$) and brucite ($Mg(OH)_2$) were detected as main constituent minerals, and a carbonate rock mainly composed of dolomite ($CaMg(CO_3)_2$) minerals may be used as a raw material to make slaked lime. The field-emission scanning electron microscope analysis showed that the Myanmar slaked lime was composed of irregularly shaped crystals of $0.5{\mu}m$ or larger and a small amount of $0.1{\mu}m$ of plate - like crystals. The size and uniformity of crystals in Myanmar lime is different from that of Korea slaked lime. This may be attributed to the effect of the mineral composition and the lime hydration method of Myanmar, which produces slurry by immersing the burnt lime in excess water for a long period of time. The compressive strength of the lime plaster in Myanmar resulted in a mean value of $1.13N/mm^2$ for the specimens cured for 28 days. The strength of the specimens with Bale juice was $1.03N/mm^2$, respectively. The lime is an air setting material that exhibits strength through long carbonation process. Therefore, it is necessary to evaluate physical properties according to curing period through long-term curing over 28 days in the future.

• (The) Research of the performance art and culture
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• no.37
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• pp.157-186
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• 2018

Ulsan Soeburi song was reenacted in the 1980s based on the testimony and songs of late Choi Jae man (1987 death), the last blacksmith of the iron production plant at Dalcheon dong, Ulsan in August 1981. The purpose of this study is to analyze Soeburi song from the musical perspective based on 13 kinds of data including video in 1981, and confirm the changing patterns in the tradition process. The derived results are summarized as follows. In the results of examining Soeburi Song data in 2017, the percussion instruments consist of kkwaenggwari 2 (leading small gong 1, follow small gong 1), jing 2 (large gong 2), buk 4 (drum 4), janggu 4 (double headed drum 4), taepyongso 1 (Korean shawm 1), and Jangdan (rhythm) consists of five such as Jilgut, Jajinmori, Dadeuraegi, Deotbaegi, Jajin Deotbaegi. The vocal songs are sung accompanied by the Deotbaegi Jajin Deotbaegi (beat) of quarter small triplet time, or without accompaniment. The scale is mostly Mi La do's third note or Mi La do re's fourth note, and the range does not exceed one octave. All the cadence tones are the same as La. From the results of observing Soeburi song performance until today after the excavation in 1981, it is found that there are four major changes. First, the composition of the music is differentiated into 'long Jajin (slow fast)', and , , and are added. Second, the singing method is based on 'single cantor + multi post singers' since 1980's reenactment, and a single post singer was also specified from time to time. In addition, , which was performed in 2013, became the foundation of . Third, a melodic change of was observed. All beat structures are quarter small triplet time, but the speed gets slow, Mi La do's three notes are skeletonized to be corrected with high re and low sol, and then the characteristics of Menari tori (the mode appeared in the eastern province of the Korean peninsula) are to be clear. Lastly, the four percussion instruments such as kkwaenggwari, jing, janggu, and buk are frequently used, and depending on the performance, sogo (hand drum), taepyongso, yoryeong (bell) are also added. Jangdan played Jajinmori, Dadeuraegi, Deotbaegi and Jajin Deotbaegi from the beginning, and thereafter, the Jilgut Jangdan was added. Through these results as above, it is confirmed that at the time of the first excavation, a simple form of such as has been changed into a male labor song, the purpose of which has changed, and that the playability has become stronger and changed into a performing arts.

• Cross-Cultural Studies
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• v.51
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• pp.329-356
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• 2018

Types of emotional expressions are comprised of vocabulary that describes emotion and composition of sentences to express emotion such as an exclamatory sentence and a rhetorical question, expressions of interjection, adverbs of attitude for an idea, and a style of writing. This study is focused on vocabulary that describes emotion and analyzes the aspect of translation when emotional expression of 'Kyo(驚)' is shown in "Kokoro". As a result, the aspect of translation for expression of 'Kyo(驚)' showed that it was translated to vocabulary as suggested in the dictionary in some cases. However, it was not always translated as suggested in the dictionary. Vocabulary that describes the emotion of 'Kyo(驚)' in Japanese sentences is mostly translated to corresponding parts of speech in Korean. Some adverbs needed to add 'verbs' when they were translated. Different vocabulary was added or used to maximize emotion. However, the corresponding part of speech in English was different from Korean. Examples of Japanese sentences expressing 'Kyo(驚)' by verbs were translated to expression of participles for passive verbs such as 'surprise' 'astonish' 'amaze' 'shock' 'frighten' 'stun' in many cases. Idioms were also translated with focus on the function of sentences rather than the form of sentences. Those expressed in adverbs did not accompany verbs of 'Kyo(驚)'. They were translated to expression of participles for passive verbs and adjectives such as 'surprise' 'astonish' 'amaze' 'shock' 'frighten' 'stun' in many cases. Main agents of emotion were showat the first person and the third person in simple sentences. Translation of emotional expressions when a main agent was the first person showed that the fundamental word order of Japanese was translated as in Korean. However, adverbs of time and adverbs of degree were ended to be added. The first person as the main agent of emotion was positioned at the place of subject when it was translated in English. However, things or causes of events were positioned at the place of subject in some cases to show the degree of 'Kyo(驚)' which the main agent experienced. The expression of conjecture and supposition or a certain visual and auditory basis was added to translate the expression of emotion when the main agent of emotion was the third person. Simple sentences without the main agent of emotion showed that their subjects could be omitted even if they were essential components because they could be known through context in Korean. These omitted subjects were found and translated in English. Those subjects were not necessarily human who was the main agent of emotion. They could be things or causes of events that specified the expression of emotion.

• Cross-Cultural Studies
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• v.53
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• pp.131-161
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• 2018

Emotional expressions are expressions that show the internal condition of mind or consciousness. Types of emotional expressions include vocabulary that describes emotion, the composition of sentences that expresses emotion such as an exclamatory sentence and rhetorical question, expressions of interjection, appellation, causative, passive, adverbs of attitude for an idea, and a style of writing. This study focuses on vocabulary that describes emotion and analyzes the aspect of translation when emotional expressions of 'Hu(怖)' is shown on "Kokoro". The aspect of translation was analyzed by three categories as follows; a part of speech, handling of subjects, and classification of meanings. As a result, the aspect of translation for expressions of Hu(怖)' showed that they were translated to vocabulary as they were suggested in the dictionary in some cases. However, they were not always translated as they were suggested in the dictionary. Vocabulary that described the emotion of 'Hu(怖)' in Japanese sentences were mostly translated to their corresponding parts of speech in Korean. Some adverbs needed to add 'verbs' when they were translated. Also, different vocabulary was added or used to maximize emotion. However, the correspondence of a part of speech in English was different from Korean. Examples of Japanese sentences that expressed 'Hu(怖)' by verbs were translated to expression of participles for passive verbs such as 'fear', 'dread', 'worry', and 'terrify' in many cases. Also, idioms were translated with focus on the function of sentences rather than the form of sentences. Examples, what was expressed in adverbs did not accompany verbs of 'Hu (怖)'. Instead, it was translated to the expression of participles for passive verbs and adjectives such as 'dread', 'worry', and 'terrify' in many cases. The main agents of emotion were shown in the first person and the third person in simple sentences. The translation on emotional expressions when a main agent was the first person showed that the fundamental word order of Japanese was translated as it was in Korean. However, adverbs of time and adverbs of degree tended to be added. Also, the first person as the main agent of emotion was positioned at the place of subject when it was translated in English. However, things or the cause of events were positioned at the place of subject in some cases to show the degree of 'Hu(怖)' which the main agent experienced. The expression of conjecture and supposition or a certain visual and auditory basis was added to translate the expression of emotion when the main agent of emotion was the third person. Simple sentences without a main agent of emotion showed that their subjects could be omitted even if they were essential components because they could be known through context in Korean. These omitted subjects were found and translated in English. Those subjects were not necessarily humans who were the main agents of emotion. They could be things or causes of events that specified the expression of emotion.

• Korean Journal of Heritage: History & Science
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• v.46 no.1
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• pp.208-227
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• 2013

Twenty-seven bronze bowls excavated from the Goryo burial complex at Deobu-gol were examined for their microstructure and chemical composition to characterize the bronze technology practiced by commoners at the time. Results showed that the objects examined can be classified into four groups: 1) objects forged out of Cu-near 22%Sn alloys and then quenched; 2) objects cast from Cu-below 10% Sn alloys containing lead; 3) objects cast from Cu-10%~20% Sn alloys containing lead and then quenched; 4) objects forged out of Cu-10~20% Sn alloys containing lead and then quenched. This study revealed that the fabrication technique as determined by alloy compositions plays an important role in bronze technology. The use of lead was clearly associated with the selection of quenching temperatures, the character of inclusions and the color characteristics of bronze surfaces. It was found that the objects containing lead were quenched at temperatures of $520^{\circ}{\sim}586^{\circ}C$ while those without lead were quenched at the range of $586^{\circ}{\sim}799^{\circ}C$. The presence of selenium in impurity inclusions was detected only in alloys containing lead, suggesting that the raw materials, Cu and Sn, used in making the lead-free alloys for the first group were carefully selected from those smelted using ores without lead contamination. Furthermore, the addition of lead was found to have significant effects on the color characteristics of the surface of bronze alloys when they are subjected to corrosion during interment. In leaded alloys, corrosion turns the surface light green or dark green while in unleaded alloys, corrosion turns the surface dark brown or black. It was found that in fabrication, the wall thickness of the bronze bowls varies depending on the application of quenching; most of the quenched objects have walls 1mm thick or below while those without quenching have walls 1mm thick or above. Fabrication techniques in bronze making usually reflect social environments of a community. It is likely that in the late Goryo period, experiencing lack of skilled bronze workers, the increased demand for bronze was met in two ways; by the use of chief lead instead of expensive tin and by the use of casting suitable for mass production. The above results show that the Goryo bronze workers tried to overcome such a resource-limited environment through technological innovations as apparent in the use of varying fabrication techniques for different alloys. Recently, numerous bronze objects are excavated and available for investigation. This study shows that with the use of proper analytical techniques they can serve as a valuable source of information required for the characterization of the associated technology as well as the social environment leading to the establishment of such technology.

• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.112-131
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• 2009

The Trikaya Banner Painting in the Suta-sa Temple at Hongcheon-gun, Gangwon-do draws attention as it was painted not on flax but on paper, and used the water color painting technique on the sketch rather than the deep color painting technique, which is most common in Buddhist paintings created during the Chosun Dynasty. Nevertheless, there is not any information on the creation of the Trikaya Banner Painting in the painting record on the painting, in Sutasasajeok(壽陀寺史蹟), or in Sutasagogirok(壽陀寺古記錄), so it is uncertain when the painting was created. Furthermore, because it was not drawn by the deep color painting technique, it has been difficult to compare it with other banner paintings. For these reasons, the Trikaya Banner Painting has been studied little except brief introduction. In recent preservation treatment that removed multiple-layered paper from the back of the painting, however, an inked inscription written on Korean paper 118cm high and 87.5cm wide was discovered on the back. It is a kind of placard notifying a number of acts prohibited in order to follow Buddha's teachings correctly, and was found to have been written on April 15, 1690. The inked inscription is a very valuable material for estimating the creation date of the Suta-sa Trikaya Banner Painting, and provides crucial clues for approaching the contents and nature of the painting more precisely. When the image, form, and style of the Suta-sa Trikaya Banner Painting were examined and its creation date was estimated based on the inked inscription, first, the painting is presumed to have been created in around 1690 as suggested by 'the placard' attached on the back instead of a painting record. Second, the painting is highly likely to be the first standing Trikaya banner painting showing the basic icons of Trikaya banner paintings in the Chosun Dynasty since the Trikaya Banner Painting in the Gap-sa Temple in Gongju (1650). Furthermore, considering the shape of the Trikaya in the painting, screen composition, background treatment, solemn and affectionate facial expression, harmonious and adequate body proportion, etc., the painting is believed to have had a considerable influence not only on Trikaya banner paintings of similar style in the 18thcentury but also on deep-color Trikaya banner paintings in the 19thcentury. Third, although the Suta-sa Trikaya Banner Painting is not acompleted work but a sketch, it exhibits the typical water color painting technique in which the strokes are clearly visible. Thus, it is considered highly valuable in understanding and analyzing stroke styles and in studying the history of Buddhist paintings. As there are not many extant banner paintings of the same style in form and expression technique as the Suta-sa Temple Trikaya Banner Painting, this study could not make thorough comparative analysis of the work, but still it is meaningful in that it laid the ground for research on standing Trikaya banner paintings in the 18thand 19thcenturies in the Chosun Dynasty.