• Korean journal of applied entomology
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• v.55 no.4
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• pp.465-469
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• 2016

An entomopathogenic fungus was isolated from the two-spotted spider mite (Tetranychus urticae) in a rearing house, and identified as Neozygites floridana (Entomophthorales: Neozygitaceae). A high infection rate induced by N. floridana could increase the price of the natural enemy. The body color of mites infected by this fungus changed to red or orange and swelling occurred. Fungal conidia were discharged into the webbing produced by the spider mites, making it relatively easy to infect the mites. Primary conidia were pear shaped and capilliconidia almond shaped. The fungus could not be cultured on solid media (PDA, SDAY, or EYSDA), but could possibly be cultured in liquid media (Grace's insect tissue culture medium + 5% fetal bovine serum). Kidney beans were supplied as food for T. urticae; the mite infection rate in a kidney bean canopy was about 36.1%. The density of infected mites was higher on the underside than on the upper side of leaves. Based on the results of this survey, we need to identify methods of fungal control for natural enemy production and biological control agents for T. urticae for effective crop management.

• Korean Journal of Soil Science and Fertilizer
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• v.35 no.1
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• pp.47-58
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• 2002

Much of the plastic film house soils in the southern part of the Korean peninsula are managed using a upland-paddy rotation culture system (hereafter, RS) to prevent salt accumulation in soil. However, information on the effects of RS on soil properties and environmental conservation is limited. In order to determine the effects of RS on soil properties, 22 fields under RS and 20 fields under a non-rotation system (hereafter, NRS) in plastic film houses were selected in Chinju, in southern Korea, and the P distribution characteristics were investigated, including the chemical properties. The RS contributed to the removal of water-soluble salts in the surface layer and to the redistribution of organic matter evenly in the soil profile. In the AP horizon, available phosphorus levels were $1,611mg\;kg^{-1}$ in RS and $1,789mg\;kg^{-1}$ in NRS, which markedly exceeds the optimum range for plant cultivation. Total P was lower in RS (average $4,593mg\;kg^{-1}$) than in NRS (average $5,440mg\;kg^{-1}$) and this decrease was taken to be an effect of RS. Inorganic P was the predominant form of P in both systems, followed by organic P and residual P. A soil profile showed that total and inorganic P concentrations decreased with depth in both systems. However, organic P increased withdepth in RS, which was in contrast to that noted in NRS. The increase in organic P with depth in RS implied that organically rather than inorganically derived phosphate moved through the soil. The concentrations of water-soluble P, Ca-P and Al-P were higher in NRS than in RS soil profiles, but the Fe-P concentration was higher in RS than in NRS, which might be affected by the anaerobic conditions found in paddy soils. In both systems, the Al-P form of extractable P predominated in the surface layer, followed by Ca-P, Fe-P and water-soluble P. With increasing depth, the composition rate of Ca-P to extractable P decreased to less than 10% in the 60-70cm depth, as Fe-P dominated at this level. The content of water-soluble P, potentially the main source of eutrophication, was higher in NRS than in RS. These results indicated that the RS used in plastic film houses contributed to the removal of water-soluble salts but only slightly decreased the phosphate concentration.

• Journal of the Korean Society of Food Culture
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• v.8 no.3
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• pp.243-248
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• 1993

Yukwa, one of the favorite Korean traditional snacks, is a oil puffed rice cooky used for sacrifies, ceremony or celebration of an event. It had been prepared by most of house-wives for a long time fellowing old reference and still be made by some skilled persons in country side these days. The preparation methods of the Yukwa differ a little each other region by region. This survey was conducted to excarvate any hidden traditional methods and collect different cases as many as possible through pre-made questionaire. 151 questionaires were collected at 7 provinces and evaluted by similar items.

• (The) Research of the performance art and culture
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• no.39
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• pp.415-455
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• 2019

This paper aimed to clarify the identity and category of the Jeong Jeongnyeol-je Chunhyangga from the perspective of the pansori transfer, while revealing the trajectory of Jeong Jeong-ryeol-je Chunhyangga, which remains in the modern pansori. Jeong Jeong-ryeol's Chunhyangga pansori part has been handed out to date, and except for the love song section, the pansori section, which corresponds to the love-separate-suffering-reunion paragraph, is almost complete. In the case of "Lee Doryeong enters Dongheon," "Hwangneungmyo song," and "The royal secret inspector visits Chunhyang's house to console her", there is a difference in pansori rhythm compared to Chunhyangga, which is currently held. "Why Yi Doryeong came to Chunhyang's House" is used in the form of an Aniri in the current Chunhyangga and "Chunhyang is treated as a virtuous woman in Namwon" is the only one included in Park Rokju's Changbon. "The royal secret inspector gathers people of Namwon to give a feast" is a new part that is not found in Chunhyangga, which is now being held, and can be seen as the Changgeuk sori of pursuing theatrical fun. On the other hand, this paper confirmed that the period between 1936 and 1937, when the Joseon Traditional Vocal Music Group actively performed Changgeuk and the record companies released a series of Changgeuk records, such as and , was an important time for the re-establishment of the Jeong Jeong-ryeol-je Chunhyangga, and that the Chunhyangga of those who had learned it before 1936-1937 was different from those who had learned it after that period. The preceding group includes Park Rok-ju, Kim Yeo-ran and Kim So-hee, while the latter group includes Kim Yeon-soo, Jung Kwang-soo, Park Dong-jin, Jung Kwang-soo and Kang Do-geun. In addition, except for Kim So-hee, these two groups are divided by the time they have learned Jeong Jeong-ryeol-je, whether they inherit the Jeong Jeong-ryeol-je from beginning to end, and by the gender of male and female singers. In teaching his pupils, Jeong Jeong-ryeol chose to use the "old-fashioned pansori" teaching method with impromptu plate-making in mind and the "modern pansori" teaching method with stereotyped sounds in mind. As a result, there were two aspects of Jeong Jeongryeol-je Chunhyangga's succession: a female singer-centered succession, which was held as learned from beginning to end, and a male singer-centered succession, which was held differently depending on the pansori schools or versions.

• Journal of Bio-Environment Control
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• v.24 no.4
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• pp.296-300
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• 2015

This study was conducted to investigate optimal crop loads of 'Jinok' grape for unheated plastic house culture. The crop loads of 'Jinok' grapes were managed to be 1.3, 1.8, 2.2, 2.4, and 2.6t per 10a from 2012 to 2014. We measured vine growth and berry qualities. Crop loads were not significantly affected on plant height, trunk diameter, shoot length, and the internode length of 'Jinok'. However, the maturation of berries was delayed when the crop load was higher. And the harvest date was earlier about three weeks in an unheated plastic house compared to in an open field. The average berry weight was decreased by the higher crop load although higher crop loads made higher yields showing the lowest weight at 342g with the treatment of 2.6t per 10a and the highest weight at 363g with the treatment of 1.3t per 10a. Also, the soluble solids content showed a tendency that higher crop loads brought to lower degree Brix. The contents of P, K, Ca, and Mg in grape leaves and shoots were not significantly different by crop loads. To sum up, when crop loads were under the 2.4t per 10a, the berries were harvested as a marketable fruit having $15^{\circ}Brix$ in the cultivar 'Jinok' grape. This result could help to increase grower's benefit having improved quality of fruit for the sustainable production by the established cultivation techniques for the newly developed cultivar 'Jinok'.

• The Journal of the Convergence on Culture Technology
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• v.6 no.3
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• pp.1-8
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• 2020

EuiJae Hu BaekRyun is a symbol of Honam Namjonghwa and is respected as a teacher of Honam culture. He is from JinDo and is a relative of Sochi Heo Ryun and a disciple of Misan Heo Hyeong. The spirit of traditional Namjongghwa and the dignity of painting faithful to its technique have been obtained by themselves, and have made it his own. EuiJae organized a 'Yeonjinhoe' in Gwangju to raise his students. After liberation, a house was built under Mudeungsan Mountain. And showed another aspect as a social educator who emphasized and practiced national spirit while being a tea ceremony man. He excelled in Chinese poetry and painting theory, and expressed a unique field in calligraphy. especially worked as an artist good at poetry, caligraphy, and painting. EuiJae showed exceptional talent, especially in landscape painting. His tendency to paint was to follow Ye Chan's technique of drawing with a dry brush, placing importance on the energy of learning, and constantly trying new experiments with the technique of gisaeng. The world of EuiJae's works can be divided into three periods, based on the signature using the trend of painting or the change of perspective pursued, the era of EuiJae, the era of EuiJaeSanin, and the era of EuiDoin, which had a tendency of independent painting. EuiJae's contribution surpassed the artistic historical assessment that he had formed a big stem for the authentic Namjongghwa of Korean painting culture, which was part of Oriental painting. And recognizing that he was a fundamental teacher connecting modern times through the actual scenery based on NamDohwa's universal spirit and regional characteristics and the creative succession of emotions, he should inherit his passion for artistic spirit and tradition and experimental spirit.

• Journal of Life Science
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• v.17 no.1 s.81
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• pp.82-90
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• 2007

In an attempt to establish the appropriate ventilation device for the bottle culture of king oyster mushroom (Pleurotus eryngii), we investigated carbon dioxide concentration and fruiting body formation according to the various ventilation systems within the mushroom house. In addition to, the efficiency of air circulation and growth rate as well as the appearance of physiologically abnormal phenotypes during their growth stage were also evaluated. four different ventilation devices, parallel-pressure type, positive-pressure type, negative-pressure type, and positive- and negative-pressure type were applied in this study. The positive-and negative-pressure type showed the highest efficiency of air circulation as $CO_2$ concentration was 800 ppm and the level of air current was relatively low compared to the other types (the $CO_2$ concentration of parallel-pressure type was 1,400 ppm). Moreover, the stipe length, the cap diameter, yield, and general quality grown in positive- and negative type ventilation device were also better than in the other three devices though it took slightly longer period for harvesting (18.4 days) than the others (17.6, 17.9 and 18.3 days). The appearance of physiologically abnormal phenotypes such as fruiting body lump, soft rot, and brown rot were significantly decreased in positive-and negative type compared to other types, while the appearance rates were not much different for other symptoms of bacterial ooze, stipe limb and stipe bumpy. In summary, we propose that the optimal ventilation system for the bottle culture of king oyster mushroom is positive- and negative type, and this device is expected to increase the total quality as well as yield all year around.

• (The) Research of the performance art and culture
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• no.18
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• pp.171-199
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• 2009

This paper started with my effort to find connections between Empty Hands, which was put on the stage at the Mime House in Chuncheon, Gangwon Province, and Jindo Ssitgimgut. The mimist Yu Jin-gyu(58) adopted so many elements from Jindo Ssitgimgut for his performance that I felt that it was the pantomime version of Jindo Ssitgimgut. Of course, the pantomime took the form of gut based on shamanism in terms of story. Watching the pantomime, I once again saw the possibility of developing Korea's cultural archetypes into cultural contents. Helen Lannaghan, the art director of London International Mime Festival of 2005, saw his performance at the conference of Chuncheon International Mime Festival and invited it to the London International Mime Festival praising that it's full of Korean elements, minimalist, and modern at the same time. In fact, Empty Hands, which boasts great harmony among the Korean objet, Oriental thoughts, Samulnori, and Western contemporary mime, was invited to many foreign festivals including the Mimos International Mime Festival in 2000, Polish International Mime Festival in 2001, Mongol's International Mime Festival in 2002, and Belgium's International Mime Festival in 2003. In addition, it's recognized for its artistic values and had a chance to shine in another international setting at the London International Mime Festival whose reputations have been worldwide. All those achievements are the result of Yu's constant effort to reflect Korean elements through his movements. What I saw in his pantomime was the possibility that plays based on Korea's cultural archetypes such as Jindo Ssitgimgut could play an important role as a global content of performance culture. Pursuing the possibility further, I analyzed the factors that brought the worldwide recognition to Empty Hands and searched for the ways to create solid storytelling with Jindo Ssitgimgut and make a huge hit on the international stage. It should be noted once more that the pantomime Empty Hands launched Korea's unique performance culture to the world stage by making great use of the traditional Korean cultural contents.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.2
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• pp.23-36
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• 2010

The purpose of this study is to infer the aspects and significance of Musa basjoo of latter part of Chosun Dynasty by analyzing the planting tendency and planting location of Musa basjoos drawn in total 77 old paintings and the characteristics of the paintings where Musa basjoos appeared, while trying to understand symbolic meanings of floral languages as well as the images and significance of Musa basjoos which appeared in the prose and poetry of Chosun Dynasty, and the results are as follows; With its floral languages of 'waiting', 'parting' and 'beauty', Musa basjoo represented the wealth and resuscitation and it aroused the elegance of hermits in its Taoistic sense. And it also represented 'the unworldliness to get out of transient human affairs' in its Buddhistic sense. Musa basjoos which appeared in 'Garden Custom Painting(庭園雅集圖)', 'Gosa Figure Painting(故事人物圖)' and 'Gyehoe Painting(契會圖)' is considered a device to increase the unworldly atmosphere of gardens and to dignify the elegant meetings of scholars, reflected by the high appearance frequencies of cranes and deer. And it seems that the meaning of Musa basjoo in certain paintings like 'Life-time Paintings(平生圖)', 'Castle City Painting(盛市圖), and 'Cultivating and Weaving Painting(耕織圖)' is an aspiration for wealth and prosperity, and the Musa basjoos planted in temples are considered to have symbolic meanings of aspiration for 'Salvation through Belief' as well as a unworldly meaning which reminds the transiency of human affairs. In addition, the expected effect of experiencing 'the sound of rain falling on the leaves of Musa basjoo' has been pursued, which can be confirmed by the fact that Firmiana simlex with wide leaves similar to Musa basjoo can be frequently spotted near the houses. Meanwhile, Musa basjoos seem to have been planted mainly in front garden or side garden around detached house and Musa basjoos inside the houses seem to have been planted mainly in right side when viewed from the entrance, in relation with the location of bedrooms where it is easier to hear the sounds from the right side of the environment. And the paintings where Musa basjoos appear with strange rocks and bizarre stones among other things have greater part of all the paintings, which is considered a kind of intentional landscaping and a product of mixed materials for elegant appreciation. And the major characters of the painting were involved in the activities of scholars such as arts, and the activities of minor characters were greatly related to their everyday lives. Musa basjoo of Chosun Dynasty in $17^{th}$ and $18^{th}$ century was one of the symbols necessary for description of gardens. And it provided the images of rainy scenes together with scholar culture which had a meaning of self-discipline, and it is assumed that the planting of Musa basjoo with the spirit of cease lessen deavor of a new leaf pushing up the tree and the spirit of resuscitation had the same trace of wheels in the city space of our country as the decline of scholar culture of Chosun Dynasty.

• Korean Journal of Soil Science and Fertilizer
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• v.44 no.2
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• pp.194-199
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• 2011

This study was conducted to evaluate fertigation effects of pig slurry (PS) and chemical fertilizer (CF) in cucumber by investigating the growth and yield, nutrient content and uptake, nutrient use efficiency, and soil characteristics in greenhouse cultivation. The cropping patterns of cucumber were semi-forcing culture and retarding culture, and the experiment involves four treatments: No fertilizer (NF), $26mg\;L^{-1}$ and $52mg\;L^{-1}$ of N application by slurry composting biofiltration liquefied fertilizer (SCBLF), and $52mg\;L^{-1}$ of N treatment by chemical fertilizer. The difference on the plant height of cucumber between SCBLF and CF treatments was no significant, but fresh weight and dry weight of stem and root were higher in $26mg\;L^{-1}$ SCBLF treatment. The Ca content of the leaf was lower in the treatments of SCBLF and the K content of the root was lower in the $52mg\;L^{-1}$ CF treatment. The Ca content of the stem was lowest in the $52mg\;L^{-1}$ CF treatment and the mineral content of the fruit showed no significant difference. In case of semi-forcing culture, the gross yield was lower in the $52mg\;L^{-1}$ CF treatment and the yield of unmarketable fruit was lower in the SCBLF treatments. The nutrient use efficiency of cucumber is as follows: K (8.3 ~ 30.9%), N (4.2 ~ 13.0%), P (1.9 ~ 2.0%). The SCBLF treatments showed higher figure in the soil pH than that of the CF treatment, while EC and the content of $NO_3$-N were higher in the CF treatment than the former. The content of exchangeable K was higher in the plot treated with $52mg\;L^{-1}$ SCBLF, and there were no significant differences in the content of Ca and Mg between the treatments. In conclusion, it is suggested that the application of liquefied manure made from pig slurry may be able to replace the use of chemical fertilizer in nitrogen and potassium.