• Journal of the Korean Home Economics Association
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• v.46 no.1
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• pp.47-61
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• 2008

The purpose of this study is to provide information about domestic living of Korean immigrants in Australia and Canada who have the same cultural background for comparative study. For this, usage of domestic space and living style in housing of 52 Korean households in Melbourne of Australia and 32 Korean households in the region of Waterloo of Canada were analyzed. Ethnographic research with questionnaire were used. Results of the research were as follows. 1. Korean immigrants in each countries were living in houses which was built by company of Australia and Canada. 44.2% of Korean immigrants in Australia were using L+D K and 53.1% of Korean immigrants in Canada were using L D K. 2. Laundry was indispensable for Korean immigrants in both countries and they all wanted to use the laundry as a utility room which could dry, ironing and so on. 3. Drain hole on the floor of the bathroom was not indispensable for most Korean immigrants in both countries for hygienic reason. 4. Korean immigrants in both countries were ironing in master bedroom and they all wanted to separate it from there through renovation and extension and so on. 5. Korean immigrants in Canada were more active to use the formal lounge which has been planned as a traditional element of western house. 6. The seating style of Korean immigrants in both countries belong to chair-seating style mostly. But it was clear that they were making Kimchi with floor seating style in both countries. 7. A level of satisfaction about using carpet was not high for Korean immigrants in both countries cause of uneasiness to clean and it was considered to relate to the floor seating style of them. 8. Almost Korean immigrants were took off the shoes inside of the house and they had shoes cabinet beside the entrance or basement usually. 9. The most popular heating system was ducted heating in both countries. The level of satisfaction about this was different for Korean immigrants in Australia and Canada but most desirable heating system was Ondol for them in both countries commonly.

• Korean Journal of Environmental Biology
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• v.38 no.4
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• pp.554-562
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• 2020

Tremex fuscicornis (Siricidae), known as the xylophagous horntail, and Leucospis japonica (Leucospidae), known as the parasitoid wasp, are wood-boring wasps belonging to the order Hymenoptera. These insects are interesting sources of biological inspiration for the development of drilling mechanisms. To study the biomimicry aspects, the morphological characters of the ovipositor of T. fuscicornis and L. japonica were analyzed using a stereoscopic microscope, a field emission scanning electron microscope, and an optical microscope. There were many differences in the ovipositors between the two species, such as shape, length, surface structure, and arrangement of the teeth. Evenly arranged teeth were developed at the tip of both the dorsal valve and the ventral valve of the ovipositor of T. fuscicornis and looked like a rotating drill bit. In contrast, in L. japonica, the teeth, which looked like a saw, were found only on the ventral valve. Moreover, the tip of the ovipositor of T. fuscicornis was symmetrically divided into four parts, while that of L. japonica was divided into three parts having a 2:1:1 ratio. However, in the case of T. fuscicornis, after the 14th tooth, four parts melded into three parts maintaining a 2:1:1 ratio, and a dovetail joint was found on the horizontal cross-section of the ovipositor that allowed vertical movement for making a hole. These morphological differences of the ovipositor may be due to the insects' lifestyles and phylogenetic distance. Finally, zinc was commonly found at the tip of the ovipositors of both species, a probable result of ecological adaptation created by drilling wood.

• Progress in Medical Physics
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• v.16 no.1
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• pp.24-31
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• 2005

The stereotactic radiosurgery (SRS) describes a method of delivering a high dose of radiation to a small tar-get volume in the brain, generally in a single fraction, while the dose delivered to the surrounding normal tissue should be minimized. To perform automatic plan of the SRS, a new method of multi-isocenter/shot linear accelerator (linac) and gamma knife (GK) radiosurgery treatment plan was developed, based on a physical lattice structure in target. The optimal radiosurgical plan had been constructed by many beam parameters in a linear accelerator or gamma knife-based radiation therapy. In this work, an isocenter/shot was modeled as a sphere, which is equal to the circular collimator/helmet hole size because the dimension of the 50% isodose level in the dose profile is similar to its size. In a computer-aided system, it accomplished first an automatic arrangement of multi-isocenter/shot considering two parameters such as positions and collimator/helmet sizes for each isocenter/shot. Simultaneously, an irregularly shaped target was approximated by cubic structures through computation of voxel units. The treatment planning method by the technique was evaluated as a dose distribution by dose volume histograms, dose conformity, and dose homogeneity to targets. For irregularly shaped targets, the new method performed optimal multi-isocenter packing, and it only took a few seconds in a computer-aided system. The targets were included in a more than 50% isodose curve. The dose conformity was ordinarily acceptable levels and the dose homogeneity was always less than 2.0, satisfying for various targets referred to Radiation Therapy Oncology Group (RTOG) SRS criteria. In conclusion, this approach by physical lattice structure could be a useful radiosurgical plan without restrictions in the various tumor shapes and the different modality techniques such as linac and GK for SRS.

• Conservation Science in Museum
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• v.26
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• pp.161-182
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• 2021

A jungwangu, a type of medium-sized mortar, is a firearm with a barrel and a bowl-shaped projectileloading component. A bigyeokjincheonroe (bombshell) or a danseok (stone ball) could be used as a projectile. According to the Hwaposik eonhae (Korean Translation of the Method of Production and Use of Artillery, 1635) by Yi Seo, mortars were classified into four types according to its size: large, medium, small, or extra-small. A total of three mortars from the Joseon period have survived, including one large mortar (Treasure No. 857) and two medium versions (Treasure Nos. 858 and 859). In this study, the production method for medium mortars was investigated based on scientific analysis of the two extant medium mortars, respectively housed in the Jinju National Museum (Treasure No. 858) and the Korea Naval Academy Museum (Treasure No. 859). Since only two medium mortars remain in Korea, detailed specifications were compared between them based on precise 3D scanning information of the items, and the measurements were compared with the figures in relevant records from the period. According to the investigation, the two mortars showed only a minute difference in overall size but their weight differed by 5,507 grams. In particular, the location of the wick hole and the length of the handle were distinct. The extant medium mortars are highly similar to the specifications listed in the Hwaposik eonhae. The composition of the medium mortars was analyzed and compared with other bronze gunpowder weapons. The surface composition analysis showed that the medium mortars were made of a ternary alloy of Cu-Sn-Pb with average respective proportions of (wt%) 85.24, 10.16, and 2.98. The material composition of the medium mortars was very similar to the average composition of the small gun from the Joseon period analyzed in previous research. It also showed a similarity with that of bronze gun-metal from medieval Europe. The casting technique was investigated based on a casting defect on the surface and the CT image. Judging by the mold line on the side, it appears that they were made in a piece-mold wherein the mold was halved and using a vertical design with molten metal poured through the end of the chamber and the muzzle was at the bottom. Chaplets, an auxiliary device that fixed the mold and the core to the barrel wall, were identified, which may have been applied to maintain the uniformity of the barrel wall. While the two medium mortars (Treasure Nos. 858 and 859) are highly similar to each other in appearance, considering the difference in the arrangement of the chaplets between the two items it is likely that a different mold design was used for each item.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.22-53
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• 2020

This paper analyzes the contents, characteristics, and historical significance of the dedicatory inscriptions (josanggi) on the Amitabha Buddha and the Maitreya Bodhisattva statues of Gamsansa Temple, two masterpieces of Buddhist sculpture from the Unified Silla period. In the first section, I summarize research results from the past century (divided into four periods), before presenting a new perspective and methodology that questions the pre-existing notion that the Maitreya Bodhisattva has a higher rank than the Amitabha Buddha. In the second section, through my own analysis of the dedicatory inscriptions, arrangement, and overall appearance of the two images, I assert that the Amitabha Buddha sculpture actually held a higher rank and greater significance than the Maitreya Bodhisattva sculpture. In the third section, for the first time, I provide a new interpretation of two previously undeciphered characters from the inscriptions. In addition, by comparing the sentence structures from the respective inscriptions and revising the current understanding of the author (chanja) and calligrapher (seoja), I elucidate the possible meaning of some ambiguous phrases. Finally, in the fourth section, I reexamine the content of both inscriptions, differentiating between the parts relating to the patron (josangju), the dedication (josang), and the prayers of the patrons or donors (balwon). In particular, I argue that the phrase "for my deceased parents" is not merely a general axiom, but a specific reference. To summarize, the dedicatory inscriptions can be interpreted as follows: when Kim Jiseong's parents died, they were cremated and he scattered most of their remains by the East Sea. But years later, he regretted having no physical memorial of them to which to pay his respects. Thus, in his later years, he donated his estate on Gamsan as alms and led the construction of Gamsansa Temple. He then commissioned the production of the two stone sculptures of Amitabha Buddha and Maitreya Bodhisattva for the temple, asking that they be sculpted realistically to reflect the actual appearance of his parents. Finally, he enshrined the remains of his parents in the sculptures through the hole in the back of the head (jeonghyeol). The Maitreya Bodhisattva is a standing image with a nirmanakaya, or "transformation Buddha," on the crown. As various art historians have pointed out, this iconography is virtually unprecedented among Maitreya images in East Asian Buddhist sculpture, leading some to speculate that the standing image is actually the Avalokitesvara. However, anyone who reads the dedicatory inscription can have no doubt that this image is in fact the Maitreya. To ensure that the sculpture properly embodied his mother (who wished to be reborn in Tushita Heaven with Maitreya Bodhisattva), Kim Jiseong combined the iconography of the Maitreya and Avalokitesvara (the reincarnation of compassion). Hence, Kim Jiseong's deep love for his mother motivated him to modify the conventional iconography of the Maitreya and Avalokitesvara. A similar sentiment can be found in the sculpture of Amitabha Buddha. To this day, any visitor to the temple who first looks at the sculptures from the front before reading the text on the back will be deeply touched by the filial love of Kim Jiseong, who truly cherished the memory of his parents.