• Journal of The Korean Association For Science Education
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• v.38 no.5
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• pp.721-738
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• 2018

Nature of Science(NOS) has been a well-organized focus of science education and one of the key elements in defining and cultivating scientific literacy for more than a century. In recent years, a specific description of NOS, which is often known as 'the consensus view of NOS', has become very influential and has gained ready acceptance as an arrangement for both curriculum building and research into understanding of NOS by students and teachers in many countries around the world. This study has two purposes; one is to review some debates and criticism on the consensus view of NOS which consists of a list of sentences to describe nature of refined and general science, which have been heated up for the last few years by many prominent science education researchers, and the other is to consider alternative perspectives on NOS for the purpose of a new direction of NOS education. As a result of an investigation into such views as 'Teaching about NOS', 'Critical NOS', 'Critical Thinking-NOS', 'Whole Science', 'Features of Science' and 'Reconceptualized Family Resemblance Approach to NOS', some implications which focus on the generality and plurality of content knowledge of NOS based on current philosophy of science and sociology of scientific knowledge are suggested for the improvement of teaching and learning NOS.

• 한국사회정책
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• v.19 no.3
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• pp.185-214
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• 2012

After the introduction of the three welfare regimes by Esping-Andersen, discussion on 'other' types of welfare regimes was facilitated and the scholarly focus on East Asian economic development gradually shifted to the East Asian welfare states discussion from the late 1990s. Literature on East Asian welfare states increased our understanding on the characteristics of not only the East Asian welfare state as a whole but also of each country in the region. However, compared the attention given to developing variables and empirical studies on the East Asian welfare state, less attention has been given to the concept of East Asian welfare states. Recognizing the limitation in developing comparable variables without a concept analysis of the East Asian welfare states, this study highlights the importance of conceptualization and concept analysis in comparative social policy studies. This paper first discusses on the concepts, conceptualization and on the use of set theory in comparative social policy research. Next, the study argues the validity of 'functional equivalence' in the East Asian welfare state studies and critically reviews the existing literature. Lastly, this paper suggests how the concept of functional equivalence can be successfully employed for the East Asian welfare states studies with a concept analysis and by applying a set theory including the fuzzy set theory.

• Journal of The Korean Association For Science Education
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• v.42 no.1
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• pp.1-18
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• 2022

The two most influential rationales for the 21^st century science curriculum reform can be said to be core competence and scientific literacy. However, the relationship between the two has not been scrutinized but remained speculative - and this has made the harmonization of the general guideline and subject-matter curriculum difficult in Korean national curriculum system. This study compares the two discourses to derive implications for future science curriculum development. This study took a literature research approach. In chapter II, national curriculum or standards, position papers, and research articles were reviewed to delineate the historical development of the discourses. In chapter III and IV, the intersections of those two discourses are delineated. In chapter III, the commonalities of the two discourses are explicated with regard to crisis rhetoric, multi-faceted meanings (individual, community, and global aspects), organization of subject-matter content and teaching and learning method, and the role of high-stake exams. In chapter IV, their respective strengths and weaknesses are juxtaposed. In chapter V, it is suggested that understanding scientific literacy and core competence discourses to have a family resemblance as 21^st century science curriculum reform rationale, after Wittgenstein and Kuhn. Finally, the ways to resolve the conflict between the two ideas from the general guideline and subject-matter curriculum over crisis rhetoric were explored.

• Journal of the Korean Institute of Landscape Architecture
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• v.51 no.1
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• pp.29-41
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• 2023

In landscape studies, the concept of naturalness was vast in its categories from physical space to cognitive systems, making it difficult to define terms at once. Therefore, this study summarized the concept and evaluation attributes of 'naturalness' used in the literature through systematic review (SR), and identified the scope of individual attributes that constitute the meaning of naturalness. In addition, the individual attributes classified in previous studies were identified as the meaning chain, one of the cognitive linguistic research methods, and applied to papers targeting naturalness among domestic landscape studies to organize a polysemous meaning system. Meaning chain is a suitable method for grasping words whose meaning expands in a chain due to family resemblance around prototypical meaning, and the dimension is classified according to the classification of naturalness evaluation items and a multi-semantic chain system of naturalness concepts discussed in domestic academia. The results of the study are as follows. First, the attributes of naturalness extracted through foreign landscape literature were classified into four areas: nature perceived as wilderness, nature as non-artificiality, nature as visual landscape, and nature as experience, and 13 detailed attributes. Second, these detailed attributes are generally consistent with domestic landscape studies, but their specific cases were different, and a Korean context was presented in perception of time accumulation, also they suggested that there may be a mutual conflict between naturalness attributes.

• Journal of the Korean Applied Science and Technology
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• v.5 no.1
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• pp.13-23
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• 1988

Contents of total lipids, neutral lipids, glycolipids and phospholipids of seed oils of 16 species of the Labiatae family were determined and their fatty acid compositions were analyzed by gas-liquid chromatography. The results were summarized as follows. 1) Lipid contents of seeds were shown to be 40.6％ in Perilla frutescens Britton var. japonica, 32.2％ in P. frutescens britton var. acuta, 31.9％ in lsodon japonicus, 32.7% in l. inflexus, 48.3％ in l. serra, 35.1％ in Mosls dianthera, 38.2％ in M. punctulata, 33.4％ in Nepeta cataria, 26.3％ in Agastache rugosa, 30.9％ in Eisholtzia ciliata, 18.9％ in Salvia splendens, 23.9％ in Lycopus maackianus, 49.5％ in Clinopodium chinense var. parviflorum, 30.9％ in Ametystea caerulea, 33.1％ in Leonurus sibircus and 34.3％ in Scutellaria basicalensis. 2) Contents of neutral lipids, glycolipids and phospholipids from the seed oils amounted to 98.6％, 0.7％, 0.8％ in P. frutescens Britton var. japonica; 95.5％, 1.3％, 3.1％ in P. frutescens Britton var. acuta; 95.1％, 1.8％, 3.1％ in l. japoincus; 91.4％, 3.5％, 5.1％ in l. inflexus; 96.8％, 0.7％, 2.5％ in l, serra; 96.0％, 1.8％, 2.2％ in Mosla dianthera; 94.7％, 2.0％, 3.3％ in M. punctulata; 90.1％, 2.4％, 7.5％ in Nepeta cataria; 90.1％, 3.4％, 6.5％ in Agastache rugosa; 86.3％, 3.3％, 10.4％ in Elsholtzia ciliata; 94.3％, 1.5％, 4.3％ in Salvia splendens; 87.2％, 2.9％, 9.0％ in Lycopus maackianus; 87.0％, 1.5％, 11.5％ in Clinopodium chinense var. parviflorum; 91.8％, 1.6％, 6.6％; 95.5％, 0.4％, 4.1％ in Leonurus sibricus; 89.0％, 1.4％, 9.6％ in Scutellaria baicalensis. 3) Total lipids revealed the predominace of unsaturated fatty acids (82.0-94.5％) and larger variations were found in the composition of ${\alpha}-linolenic$ acid (0.4-67.9％) and linoleic acid (11.2-82.9％). High level of ${\alpha}-linoenic$ acid was present in P. frutescens Britton var. japonica (67.9％), P. frutescens Britton var, acuta (66.0％), lsodon japonicus (65.2％), l. inflexus (59.0％), l. serra (57.3％), Mosla dianthera (60.9％), Nepeta cataria (58.3％), Agastache rugosa (58.5％) and Elsholtzia ciliata (46.2％), and followed by linoleic acid (11.2-32.1％) and oleic acid (9.3-12.2％). However, linoleic acid was the most predominant component in the total lipids of Clinopodium chinense var. parviflorum (62.4％), Ametystea caerules (82.9％), Leonurus sibricus (60.9％) and Scutellaria baicalensis (63.4％), with very small amounts of ${\alpha}-linolenic$ acid (0.4-3.1％). The total lipids of Salvia splendens, Lycopus maackianus and Mosla punctulata also contained linoleic acid of 31.3％, 48.8％ and 53.4％, with a considerable amount of ${\alpha}-linolenic$ acid of 34.5％ 27.0％ and 16.7％. Palmitic acid was the major saturated fatty acid in all the oils investigated (4.1-14.2％). 4) Fatty acid profiles of neutral lipids bore a close resemblance to those of total lipids in all the seed oils, but different from those of glycolipids and phospholipids. Fatty acid composition pattern of glycolipids and phospholipids showed a considerably increased level of saturated fatty acids (19.0-66.8％, 17.8-35.2％) mainly composed of palmitic acid and stearic acid, and a noticeable low level of unsaturated fatty acids (41.2-80.9％, 64.7-82.1％) which was ascribed to the decrease in ${\alpha}-linolenic$ acid of high ${\alpha}-linolenic$ acid seed oils, and in linoleic acid of high linoleic seed oils, compared to that of total lipids and neutral lipids.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.3
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• pp.41-66
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• 2017

The purpose of this research is to empirically trace the junctures of Yigye-gugok managed by Gwan-am Hong Gyeong-mo, a grandson of Yigye Hong Yang-ho who originally designed Yigye-gugok, while reviewing the features of the forms and patterns of gugok. The results of the research are as follows. 1. Ui-dong was part of the domain of the capital during the Chosun dynasty, which also is located in the city of Seoul as a matter of administrative zone. Likewisely, Yigye-gugok is taken as a special meaning for it was one and only gugok. Starting with Mangyeong Waterfall as the $1^{st}$ gok, Yigye follows through the $2^{nd}$ gok of Jeokchwibyeong Rock, the $3^{rd}$ gok of Chanunbong Peak, the $4^{th}$ gok of Jinuigang Rock, the $5^{th}$ gok of Okkyeongdae Rock, the $6^{th}$ gok of Wolyeongdam Pond, the $7^{th}$ gok of Tagyeongam Rock, the $8^{th}$ gok of Myeongoktan Stream, and the $9^{th}$ gok of Jaeganjeong Pavilion. Of these, Mangyeong Waterfall, Chanunbong Peak, and Okkyeongdae Rock are distinct for their locations in as much as their features, while estimated locations for Jinuigang Rock, Wolyeongdam Pond, Myeongoktan Stream, and Jaeganjeong Pavilion were discovered. However, Jeokchwibyeong Rock and Tagyeongam Rock demonstrated multiple locations in close resemblance to documentary literatures within secretive proximity, whereas geography, scenery, and sighted objects were considered to evaluate the 1st estimated location. Through these endeavored, it was possible to identify the shipping routes and structures for the total distance of 2.1km running from the $1^{st}$ gok to the $9^{th}$ gok, which nears Gwanam's description of 5ri(里), or approximately 1.96km for gugok. 2. Set towards the end of the $18^{th}$ century, Yigye-gugok originated from a series of work shaping the space of Hong Yang-ho's tomb into a space for the family. Comparing Yigye-gugok to other gugoks, numerous differences are apparent from beyond the rather more general format such as adjoining the $8^{th}$ gok while paving through the lower directions from the upper directions of the water. This gives rises to the interpretation such that Yigye-gugok was positioned to separate the doman of the family from those of the other families in power, thereby taking over Ui-dong. Yet, the aspect of the possession of the space lends itself to the determination that the location positioned at the $8^{th}$ gok above Mangyeongpok Waterfall representing Wooyi-dong was a consequence of the centrifugal space creation efforts. 3. While writings and poetic works were manufactured in such large quantities in Yigye-gugok whose products of setters and managers seemed intended towards gugok-do and letters carved on the rocks among others, there is yet a tremendous lack of visual media in the same respect. 'Yigye-gugok Daejacheop' Specimens of Handwriting offers the traces of Gwanam's attempts to engrave gakja at the food of Yigye-gugok. This research was able to ascertain that 'Yigye-gugok Daejacheop' Specimens of Handwriting was a product of Hong Yang-ho's collections maintained under the auspices of the National Central Museum, which are renowned for Song Shi-yeol's penmanship.

• Journal of the Korean Applied Science and Technology
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• v.13 no.1
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• pp.21-29
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• 1996

Levels of total, neutral and polar lipids from the seeds of eight species of the Cucurbitaceae f Cucurbita moschata, Lufa cylindrica, Citrullus vulgari, Cucumis melo var. makuwa, Cucumis satvus, Lag leucantha. Trichosanthes kirilowii and Momordica charantia, were determinded, and their fatty compositions were also analyzed by gas-liquid chromatography. The results were summarized as foll. Lipid contents of the seeds range from 21.9 to 50.7%, which contained 98% up of neutral lipi the fatty acid compositon of ottal lipids from the seeds of Cucurbita moschata, Lufa cylindrica, Ci vulgari, Cucumis melo var. makuwa, Cucumis sativus and Lagenaria leucantha, linoleic acid is the mos dominant component(56.8${\sim}$84.0%) followed by oleic acid(5.7${\sim}$22.2%) and palmitic acid(6.1${\sim}$1) with a trace amount of ${\alpha}-linolenic$ acid(below 0.6%). On the contrary, the seed oils of Tricho kirilowii and Momordica charantia are characterized by presence of considerable amounts of con trienoic acid such as punicic acid($_{9c.11t.13c-}C_{18:3}$) and ${\alpha}-eleostearic$ acid($_{9c.11t.13c-}C_{18:3}$). For example total lipids of T. kirilowii seeds were mainly composed of linoleic acid(40.5%) and punicic acid(3) in the fatty acid composition, while those of M. charantia seeds predominantly comprised ${\alpha}-eleos$ acid as a main component(66.9%), accompanied by oleic acid(11.7%) and linoleic acid(10.4%). oil ${\beta}-eleostearic$ acid($_{9t.11t.13c-}C_{18:3}$) was checked as a trace. Fatty acid profiles of neutral lipids close resemblance to those of total lipids in all the seed oils, but are different from those of polar In particular, conjugate trienoic acids including punicic acid and ${\alpha}-eleostearic$ acid which are oc as the most abundant component in both neutral lipids of T. kirilowii and M. charantia seed oils, ar ent in a extremely small amount in both polar lipids. The fatty acid distribution in the polar lipid the samples except for T. kirilowii and M. charantia seed oils, showed a tendency of consid increased level of saturated fatty acids(25.0${\sim}$29.4%) compared with that in the neutral lipids(9.9%). The results obtained in this experiment suggest us that the seed oils of the Cucurbitaceae

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.155-180
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• 2019

Samsaebulhoedo(三世佛會圖) at Yongjusa Temple(龍珠寺), regarded as a monumental masterpiece consisting of different elements such as Confucian and Buddhist ideas, palace academy garden and Buddhist artist styles, unique traditional and western painting styles, is one of the representative works that symbolically illustrate the development and innovation of painting in the late Joseon dynasty. However, the absence of painting inscriptions raised persistent controversy over the past half century among researchers as to the matters of estimating its production period, identifying the original author and analyzing style characteristics. In the end, the work failed to gain recognitions commensurate with its historical significance and value. It is the particularly vital issue in that estimating the production period of the existing masterpiece is the beginning of all other discussions. However, this issue has caused the ensuing debates since all details are difficult to be interpreted to a concise form due to a number of different records on painters and mixture of traditional buddhist painting styles used by buddhist painters and innovative western styles used by ordinary painters. Contrary to other ordinary Buddhist paintings, this painting, Samsaebulhoedo, has a praying letter for the royal establishment at the center of the main altar. It should be noted that regarding this painting, its original version-His Royal Highness King, Her Majesty, His Royal Crown Prince主上殿下, 王妃殿下, 世子邸下-was erased and instead added Her Love Majesty慈宮邸下 in front of Her Majesty. This praying letter can be assumed as one of the significant and objective evidence for estimating its production period. The new argument of the late 19th century production focused on this praying letter, and proposed that King Sunjo was then the first-born son when Yongjusa Temple was built in 1790 and it was not until January 1, 1800 that he was ascended to the Crown Prince. In this light, the existing praying letter with the eulogistic title-Crown Prince世子-should be considered revised after his ascension to the throne. Styles and icons bore some resemblance to Samsaebulhoedo at Cheongryongsa Temple or Bongeunsa Temple portrayed by Buddhist painters in the late 19th century. Therefore, the remaining Samsaebulhoedo should be depicted by them in the same period as western styles were introduced in Buddhist painting in later days. Following extensive investigations, praying letters in Buddhist paintings in the late 19th century show that it was usual to record specification such as class, birth date and family name of people during the dynasty at the point of producing Buddhist paintings. It is easy to find that those who passed away decades ago cannot be revised to use eulogistic titles as seen by the praying letters in Samsaebulhoedo at Yongju Temple. As "His Royal Highness King, Her Majesty, His Royal Crown Prince" was generally used around 1790 regardless of the presence of first-born son or Crown Prince, it was rather natural to write the eulogistic title "His Royal Crown Prince" in the praying letter of Samsaebulhoedo. Contrary to ordinary royal hierarchy, Her Love Majesty was placed in front of Her Majesty. Based on this, the praying letter was assumed to be revised since King Jeongjo placed royal status of Hyegyeonggung before the Queen, which was an exceptional case during King Jeongjo's reign, due to unusual relationships among King Jeongjo, Hyegyeonggung and the Queen arising from the death of Crown Prince(思悼世子). At that time, there was a special case of originally writing a formal tripod praying letter, as can be seen from ordinary praying letter in Buddhist paintings, erasing it and adding a special eulogistic title: Her Love Majesty. This indicates that King Jeongjo identified that Hyegyeonggung was erased, and commanded to add it; nevertheless, ceremony leaders of Yongju Temple, built as a palace for holding ceremonies of Hyeonryungwon(顯隆園) are Jeongjo, the son of his father and his wife Hyegyeonggung (Her Love Majesty)(惠慶宮(慈宮)). This revision is believed to be ordered by King Jeongjo on January 17, 1791 when the King paid his first visit to the Hyeonryungwon since the establishment of Hyeonryungwon and Yongju Temple, stopped by Yongju Temple on his way to palace and saw Samsaebulhoedo for the first and last time. As shown above, this letter consisting of special contents and forms can be seen an obvious, objective testament to the original of Samsebulhoedo painted in 1790 when Yongju Temple was built.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.239-260
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• 2019

This paper examines the circulation and dissemination of painting during and after the nineteenth century through a case study on the One Hundred Fans paintings produced as decorative folding screens at the time. One Hundred Fans paintings refer to depictions of layers of fans in various shapes on which pictures of diverse themes are drawn. Fans and paintings on fans were depicted on paintings before the nineteenth century. However, it was in the nineteenth century that they began to be applied as subject matter for decorative paintings. Reflecting the trend of enjoying extravagant hobbies, fans and paintings on fans were mainly produced as folding screens. The folding screen of One Hundred Fans from the collection of the Museum am Rothenbaum Kulturen und Künste der Welt (hereafter Rothenbaum Museum) in Germany was first introduced to Korean in the exhibition The City in Art, Art in the City held at the National Museum of Korea in 2016. Each panel in this six-panel folding screen features more than five different fans painted with diverse topics. This folding screen is of particular significance since the National Museum of Korea holds the original drawings. In the nineteenth century, calligraphy and painting that had formerly been enjoyed by Joseon royal family members and the nobility in private spaces began to spread among common people and was distributed through markets. In accordance with the trend of adorning households, colorful decorative paintings were preferred, leading to the popularization of the production of One Hundred Fans folding screens with pictures in different shapes and themes. A majority of the Korean collection in the Rothenbaum Museum belonged to Heinrich Constantin Eduard Meyer(1841~1926), a German businessman who served as the Joseon consul general in Germany. From the late 1890s until 1905, Meyer traveled back and forth between Joseon and Germany and collected a wide range of Korean artifacts. After returning to Germany, he sequentially donated his collections, including One Hundred Fans, to the Rothenbaum Museum. Folding screens like One Hundred Fans with their fresh and decorative beauty may have attracted the attention of foreigners living in Joseon. The One Hundred Fans at the Rothenbaum Museum is an intriguing work in that during its treatment, a piece of paper with the inscription of the place name "Donghyeon" was found pasted upside down on the back of the second panel. Donghyeon was situated in between Euljiro 1-ga and Euljiro 2-ga in present-day Seoul. During the Joseon Dynasty, a domestic handicraft industry boomed in the area based on licensed shops and government offices, including the Dohwaseo (Royal Bureau of Painting), Hyeminseo (Royal Bureau of Public Dispensary), and Jangagwon (Royal Bureau of Music). In fact, in the early 1900s, shops selling calligraphy and painting existed in Donghyeon. Thus, it is very likely that the shops where Meyer purchased his collection of calligraphy and painting were located in Donghyeon. The six-panel folding screen One Hundred Fans in the collection of the Rothenbaum Museum is thought to have acquired its present form during a process of restoring Korean artifacts works in the 1980s. The original drawings of One Hundred Fans currently housed in the National Museum of Korea was acquired by the National Folk Museum of Korea between 1945 and 1950. Among the seven drawings of the painting, six indicate the order of their panels in the margins, which relates that the painting was originally an eight-panel folding screen. Each drawing shows more than five different fans. The details of these fans, including small decorations and patterns on the ribs, are realistically depicted. The names of the colors to be applied, including 'red ocher', 'red', 'ink', and 'blue', are written on most of the fans, while some are left empty or 'oil' is indicated on them. Ten fans have sketches of flowers, plants, and insects or historical figures. A comparison between these drawings and the folding screen of One Hundred Fans at the Rothenbaum Museum has revealed that their size and proportion are identical. This shows that the Rothenbaum Museum painting follows the directions set forth in the original drawings. The fans on the folding screen of One Hundred Fans at the Rothenbaum Museum are painted with images on diverse themes, including landscapes, narrative figures, birds and flowers, birds and animals, plants and insects, and fish and crabs. In particular, flowers and butterflies and fish and crabs were popular themes favored by nineteenth century Joseon painters. It is noteworthy that the folding screen One Hundred Fans at the Rothenbaum Museum includes several scenes recalling the typical painting style of Kim Hong-do, unlike other folding screens of One Hundred Fans or Various Paintings and Calligraphy. As a case in point, the theme of "Elegant Gathering in the Western Garden" is depicted in the Rothenbaum folding screen even though it is not commonly included in folding screens of One Hundred Fans or One Hundred Paintings due to spatial limitations. The scene of "Elegant Gathering in the Western Garden" in the Rothenbaum folding screen bears a resemblance to Kim Hong-do's folding screen of Elegant Gathering in the Western Garden at the National Museum of Korea in terms of its composition and style. Moreover, a few scenes on the Rothenbaum folding screen are similar to examples in the Painting Album of Byeongjin Year produced by Kim Hong-do in 1796. The painter who drew the fan paintings on the Rothenbaum folding screen is presumed to have been influenced by Kim Hong-do since the fan paintings of a landscape similar to Sainsam Rock, an Elegant Gathering in the Western Garden, and a Pair of Pheasants are all reminiscent of Kim's style. These paintings in the style of Kim Hong-do are reproduced on the fans left empty in the original drawings. The figure who produced both the original drawings and fan paintings appears to have been a professional painter influenced by Kim Hong-do. He might have appreciated Kim's Painting Album of Byeongjin Year or created duplicates of Painting Album of Byeongjin Year for circulation in the art market. We have so far identified about ten folding screens remaining with the One Hundred Fans. The composition of these folding screens are similar each other except for a slight difference in the number and proportion of the fans or reversed left and right sides of the fans. Such uniform composition can be also found in the paintings of scholar's accoutrements in the nineteenth century. This suggests that the increasing demand for calligraphy and painting in the nineteenth century led to the application of manuals for the mass production of decorative paintings. As the demand for colorful decorative folding screens with intricate designs increased from the nineteenth century, original drawings began to be used as models for producing various paintings. These were fully utilized when making large-scale folding screens with images such as Guo Ziyi's Enjoyment-of-Life Banquet, Banquet of the Queen Mother of the West, One Hundred Children, and the Sun, Cranes and Heavenly Peaches, all of which entailed complicated patterns. In fact, several designs repeatedly emerge in the extant folding screens, suggesting the use of original drawings as models. A tendency toward using original drawings as models for producing folding screens in large quantities in accordance with market demand is reflected in the production of the folding screens of One Hundred Fans filled with fans in different shapes and fan paintings on diverse themes. In the case of the folding screens of One Hundred Paintings, bordering frames are drawn first and then various paintings are executed inside the frames. In folding screens of One Hundred Fans, however, fans in diverse forms were drawn first. Accordingly, it must have been difficult to produce them in bulk. Existing examples are relatively fewer than other folding screens. As discussed above, the folding screen of One Hundred Fans at the Rothenbaum Museum and its original drawings at the National Museum of Korea aptly demonstrate the late Joseon painting trend of embracing and employing new painting styles. Further in-depth research into the Rothenbaum painting is required in that it is a rare example exhibiting the influence of Kim Hong-do compared to other paintings on the theme of One Hundred Fans whose composition and painting style are more similar to those found in the work of Bak Gi-jun.