• Restorative Dentistry and Endodontics
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• v.32 no.1
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• pp.37-46
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• 2007

The C-shaped canal system is an anatomical variation mostly seen in mandibular second molars, although it can also occur in maxillary and other mandibular molars. The main anatomical feature of C-shaped canals is the presence of fins or web connecting the individual root canals. The complexity of C-shaped canals prevents these canals from being cleaned, shaped, and obturated effectively during root canal therapy, and sometimes it leads to an iatrogenic perforation from the extravagant preparation. The purpose of this study was to provide further knowledge of the anatomical configuration and the minimal thickness of dentinal wall according to the level of the root. Thirty extracted mandibular second molars with fused roots and longitudinal grooves on lingual or buccal surface of the root were collected from a native Korean population. The photo images and radiographs from buccal, lingual, apical direction were taken. After access cavity was prepared, teeth were placed in 5.25% sodium hypochlorite solution for 2 hours to dissolve the organic tissue of the root surface and from the root canal system. After bench dried and all the teeth were embedded in a self-curing resin. Each block was sectioned using a microtome (Accutom-50, Struers, Denmark) at interval of 1 mm. The sectioned surface photograph was taken using a digital camera (Coolpix 995, Nikon, Japan) connected to the microscope. 197 images were evaluated for canal configurations and the minimal thickness of dentinal wall between canal and external wall using 'Root Thickness Gauge Program' designed with Visual Basic. The results were as follows : 1. At the orifice level of all teeth, the most frequent observed configuration was Melton's Type C I (73%), however the patterns were changed to type C II and C III when the sections were observed at the apical third. On the other hand, the type C III was observed at the orifice level of only 2 teeth but this type could be seen at apical region of the rest of the teeth. 2. The C-shaped canal showed continuous and semi-colon shape at the orifice level, but at the apical portion of the canal there was high possibility of having 2 or 3 canals 3. Lingual wall was thinner than buccal wall at coronal, middle, apical thirds of root but there was no statistical differences.

• Journal of Korean Society of Forest Science
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• v.79 no.2
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• pp.127-137
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• 1990

This study was carried out to investigate some characteristics of selected trees recognized as natural hybrid between Pinus densiflora and Pinus thunbergii for improving resistance to pine leaf gall midge. The results obtained were as follows. l. In the mean annual increment and the growth in the period of latest 5 years of DBH, hybrid pines showed intermediate value of the parents, Pinus densiflora and Pinus thunbergii. However, there was remarkable variation among individuals of hybrid pine. 2. The trees having resin duct index(RDI) value larger than 0.1 for the position of resin duct in needle was classified as hybrid pine. The leaf and leaf sheath of Pinus thunbergii was longer than that of Pinus densiflora and the distance between rows of stomata on needles of Pinus thunbergii was longer than that of Pinus detasiflora, and the values of those observations on hybrid pine were intermediate between the parent species. However, differences among individual was observed. 3. In the size of cone and seed, and weight of 1000 seeds, like in the leaf characteristics, Pinus thunbergii showed higher value than Pinus densiflora and those values of hybrid were intermediate between the parent species. 4. Assuming isoenzyme ADH-$B_2$, ME-$A_2$, PGI-$B_1$, and PGI-$B_2$ alleles observed in the hybrids were introgressed from Pinus thunbergii, the hybrid pine can be easily identified by these isoenzyme alleles. However, the individuals which do not have those alleles can not be identified.

• (The)Study of the Eastern Classic
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• no.59
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• pp.405-428
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• 2015

Painting theorists in Song dynasty often spoke 'Li' when they talked about paintings. But 'Li' of the song dynasty is not limited to the 'ethics'. First, it includes visible 'natural's truth', such as the differences of 'geography' and 'physics' between the depicted objects. Second, it also includes 'common sense' which was based on both the observation and the thinking. The theorists thought if the 'common sense' was improper in the painting, the whole work was invalid. Thirdly, it also includes 'the reasonable sense in special situation', which requires great imagination ability and elaborative faculty. For example, when playing wind instruments and stringed instruments in the same time at the same concert, the painter should accurately draw the different gestures of musicians according to that the wind instrument is 'sound when the finger lift' and the stringed instrument is 'sound after the finger have left' in that moment. Fourthly, it includes 'art reason', theorists call it as 'ShenLi' or 'MiaoLi'. 'ShenLi' or 'MiaoLi' require the creator to join the spiritual concept besides his observation and thinking. For example, 'banana in snow' is neither observed available nor thought of available, but is the result of spiritual concept of creators for seeking everlasting. And at last, it certainly includes 'the principle of ethics'. Painters often highlighted the ethical relations of the feudal nation and the value of individual gentleman through the allegory story of figure painting and even the sudden composition in the landscape painting. 'Geography', 'physical', and 'common sense' are required the meticulous observation and the rational thinking for the painted object. And 'the reasonable sense in special situation', 'the art reason', 'the principle of ethics' are required enhancing painting style in the painting artistic conception and realm of life based on the nuanced observation, making 'technology' into the 'Tao'. This is the six reasonable increasing requirements for the painting work. Therefore, 'seeking the final reason' is the fundamental spirit of painting theory of Song Dynasty.

• Journal of Korean Classical Literature and Education
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• no.34
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• pp.115-147
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• 2017

This paper compared and reviewed the poetic theories and Chinese poems of the Korean author Kim Chang Heup and his Japanese counterpart, Kan Chazan. Kim Chang Heup and Kan Chazan shared largely the same opinions on poetry, and both rejected archaism. First, they did not just copy High Tang poetry. Instead, they focused on the (sometimes trivial) scenery right in front of them, and described the calm feelings evoked by what they had seen. They also adopted a sincere tone, instead of an exaggerated one, because both believed that poetry should be realistic. However the differences between the two poets are also noteworthy. Kim Chang Heup claimed that feelings and scenery meet each other within a literary work through Natural Law, and the linguistic expressions that mediate the two are philosophical in nature. However, Kan Chazan did not use Natural Law as a medium between feelings and scenery. Instead the Japanese writer said the ideal poetical composition comes from a close observation and detailed description of scenery. In sum, while Kim Chang Heup continued to express reason through scenery, Kan Chazan did not go further than depicting the scenery itself. In addition, Kim Chang Heup believed poetry was not only a representation of Natural Law, but also a high-level linguistic activity that conveys a poetic concern about national politics. As a sadaebu (scholar-gentry), he held literature in high esteem because he thought that literature could achieve important outcomes. On the other hand, Kan Chazan regarded it as a form of entertainment, thereby insisting literature had its own territory that is separate from that of philosophy or politics. In other words, whereas Kim Chang Heup considered literature as something close to a form of learning, Kan Chazan viewed it as art. One might wonder whether the poetics of Kim Chang Heup and Kan Chazan reflect their individual accomplishments, or if the characteristics of Chinese poetry that Korean and Japanese poets had long sought after had finally surfaced in these two writers. This paper argued that the two authors' poetics represent characteristics of Chinese poetry in Korea and Japan, or general characteristics of Korean and Japanese literatures in a wider sense. Their request to depict actual scenery in a unique way, free from the ideal model of literature, must have facilitated an outward materialization of Korean and Japanese literary characteristics that had developed over a long time.

• Journal of Bio-Environment Control
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• v.28 no.4
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• pp.461-470
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• 2019

This study was carried out to quantify the drought stress in grafted watermelon seedlings non-destructively by using chlorophyll fluorescence (CF) imaging technique rather than the visual judgment. Six-day old watermelon seedlings were grown under uniform irrigation for 3 days, and then given drought stress. Afterward, the sensor for the measurement of water content in plug tray cell unit was used to classify the drought-stress level into nine groups from D1 (53.0%, sufficient moisture state) to D9 (15.7%, extremely dry stress), and the 16 CF parameters were measured. In addition, re-irrigation was performed on the drought stressed seedlings(D5 - D9) to determine the growth and photosynthesis recovery level, which was not confirmed by visual judgment. The kinetic curve patterns of CF in three different drought stressed seedling groups were found to be different for the early detection of drought stress. All the 16 CF parameters decreased continuously with exposure to drought stress and drastically decreased from D5 (32.1%) where the visual judgment was possible. The fluorescence decline ratio (Rfd_Lss) started to decrease from the initial drought stress level (D5 - D6), and the Maximum PSII quantum yield (Fv/Fm) was significantly decreased in the later extreme drought stress range (D7 - D9) by re-irrigation recovery test. Thus, Rfd_Lss and Fv/Fm parameters were finally selected as potent indicators of growth and photosynthesis recovery in the initial and later stages of drought stress. Also, to the differences in the numerical values of the individual chlorophyll fluorescence parameters, the drought stress level was intuitively confirmed through the image. These results indicate that Rfd and Fv/Fm can be considered as potential CF parameters for the detection of low and extremely high drought stress, respectively. Furthermore, Fv/Fm can be considered as the best CF parameters for recovery at re-irrigation.

• Asian Journal of Turfgrass Science
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• v.23 no.2
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• pp.317-330
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• 2009

Research was initiated to investigate germination vigor, number of leaves, plant height and turfgrass density. A total of 18 treatment combinations were used in the study. Treatments were made of soil organic amendment(SOA), sand, and water-absorbing polymer. Germination vigor, leaf number, plant height and turfgrass density were evaluated in Kentucky bluegrass(KB) grown under greenhouse conditions. Significant differences were observed in germination vigor, leaf number, plant height and turfgrass density among 18 mixtures of SOA and polymer. Highest germination rate was associated with mixture of SOA 20% + sand 80% + polymer 0%, resulting in 56.3% for KB. Number of leaves at 60 DAS(days after seeding) were greater with KB over PR, while plant height higher with PR over KB. Leaf number increased with SOA, being SOA 20% > SOA 100% > SOA 10% and with polymer from 0 to 12%. Plant height was greatest with SOA 20% and lowest with SOA 100%. Greater density was observed with PR rather than KB due to longer plant height. Turf density was best under SOA 10% and poorest under SOA 100% in KB. A further research would be required for investigating the individual effect of K-SAM, Ca, perlite on the turf growth characteristics.

• Korean Journal of Cognitive Science
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• v.32 no.1
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• pp.1-53
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• 2021

The aim of this study was to analyze word frequency effects on eye fixation duration in Korean reading with a one-boundary diffusion model and to show how these phenomena differ between adults (20-28yrs) and adolescents (13-14yrs). We predicted that the drift rate parameter in the boundary diffusion model would reflect the information processing of the fovea during silent reading. Through an eye movement tracking experiment while controlling word properties such as the word frequency and the age of acquisition, Experiment 1 and Experiment 2 show that the information processing pertaining to words to be placed in the fovea is connected to the drift rate of the one-boundary diffusion model parameters. In Experiment 1,in the adult group, the mean difference in the fixation time in the response proportion between the presence of high-frequency condition and low-frequency condition in the adult group was higher in quantile 0.9 than it was in the 0.1 quantile, but in the adolescent group, the mean difference in the fixation time in the response proportion between the two conditions was not significantly in the 0.9 quartile.In Experiment 2, the mean difference in the fixation time in the response proportion between early-acquired condition and late-acquired condition in both groups was also higher in the quantile 0.9 than in the 0.1 quantile. The distribution of the two conditions in the both groups was positively skewed, and the difference showed the same pattern found in the results of Ratcliff(Ratcliff & McKoon, 2008). Based on the experimental results, we propose one-boundary diffusion model as a tool to explain word property effects and individual differences in reading. In particular, we suggest that the drift rate parameter in the boundary diffusion model reflects the information processing of the fovea during reading. In addition, the results show that one-boundary diffusion model can be used to predict the aforementioned phenomena in reading.

• (The) Research of the performance art and culture
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• no.20
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• pp.251-307
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• 2010

Manbojeonseo, a kind of an encyclopedia published several times in Ming Ch'ing dynasty, includes useful information for scholars and common people on daily lives. In 1720, Manbojeonseo was first introduced to Joseon(朝鮮) dynasty by the diplomatic corps visiting Ch'ing dynasty, and widely circulated in the society as an useful information magazine or an individual collection of reference book. Since Manbojeonseo includes the systematically-organized contents of Geumdoron(琴道論, a theory of a heptachord), it could provide a useful reference when the Geumdoron was inserted as the contents of old scores. For an instance, Obultan(五不彈), Tangeumsuji(彈琴須知), and Taeeumgibeop(太音紀法) recorded in Hangeumsinbo(韓琴新譜, 1724) clearly acknowledge Manbojeonseo as their common source. In this paper, the order and the contents of Geumdorons from four different Manbojeonseo are compared. At first, the comparative analysis of Manbojeonseo (1610) edited by Seo Giryong(徐企龍) and Manbojeonseo(1612) edited by Yu Jamyeong(劉子明) are carried out focusing on the contents of the Geumdoron, where both Manbojeonseos contain considerable amount of Geumdoron sections. The tables of the contents in both Manbojeonseos are composed of upper and lower levels classified into 4 large divisions for each. While the contents of the upper level is presumably older and focused more on the theory of the cardinal virtues, the contents of the lower one is relatively new and centered more on the skills for the real play of a heptachord(琴), the lyrics and the musical scores composed of Gamjabo(減字譜). Therefore, it could be said that the upper level is metaphysical while the lower level is physical. One of the differences between those two Manbojeonseos lies in the order and the terminology found in the large divisions. In the case of Manbojeonseo(1612), some terms in the large division represent and theoretically group the detailed descriptions in the small divisions such as 5 demands or 7 taboos in the play of the heptachord. In addition, a few lower divisions were newly added or revised in order to enhance the completeness of Geumhangmun(琴學門, study of a heptachord), and the detailed classification was revised and polished to improve the reasonableness. In Manbojeonseo(1614) composed by the same editor as Manbojeonseo(1610), the contents of the Geumdoron become much briefer than those of Manbojeonseo(1610) and Manbojeonseo(1612). In the case of Manbojeonseo(1739), a new type of the Geumdoron is included called Oeumjeongjobo(五音正操譜) while carrying a similarly brief section of the Geumdoron. Finally, the Geumdorons in Manbojeonseo and several old scores are comparatively analyzed. While the Geumbo(琴譜) owned by Gugagwon(國樂院) and Hangeumsinbo contains relatively old Geumdoron, Yuyeji(遊藝志) and Bangsanhanssigeumbo(芳山韓氏琴譜) adopt practical and relatively new Geumdorons different from the former old scores and similar to Manbojeonseo(1739) considering the order and the contents. In particular, the contents of the Geumdoron in Geumheonakbo(琴軒樂譜) is notably unique containing much of the upper and the lower levels of Manbojeonseo(1612), therefore thought to have actively adopted the contents of new Geumdorons.

• Cross-Cultural Studies
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• v.48
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• pp.67-106
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• 2017

This study focuses on two specific history of Korean literature in Chinese: the outline of The History of Joseon Literature (2010) by Li Yan and The History of Joseon Literature (1988, 2008) by Wei Xu-sheng; it was conducted to compare narrative viewpoints to the history of South and North Korean literature and therefore identify distinguishable characteristics. As a result, the following was concluded. First, The History of Korean Literature by Cho Dong-il and The History of Korean Literature in North Korea (15 volumes) include thorough discussions on division of historical eras, concept of genres as well as individual literary works and applied such discussions on writing literary history. However, Wei Xu-sheng and Li Yan's The History of Korean Literature did not illuminate theoretical discussion of South and North Korea. Li Yan's outline of The History of Joseon Literature was published in 2010 and the first edition of Wei Xu-sheng's The History of Joseon Literature was published in 1986 and later was published as revised editions in 2000 and 2008. Regarding published dates, it is a matter of course to reference Cho Dong-il's The History of Korean Literature, published in the 1980s, or The History of Korean Literature in North Korea (15 volumes), published in the 1990s; nevertheless, neither Wei Xu-sheng nor Li Yan used those texts in their works. Their works were heavily influenced by the narrative tradition of the history of national literature and therefore, entailed unsophisticated discussion on the division of historical eras or the concept of genres. Second, those two texts also emphasized external factors such as politics, society, economy and culture and explicitly mention these factors in historical overview of each chapter. Such an approach is commonly used in narratives of literary history under socialist regimes, including The History of Korean Literature in North Korea (15 volumes). Accordingly, evaluations based on 'political standards' - stress of people, nationality, practicality and so forth - in main texts are particularly accentuated, akin to narratives of literary history under socialist regimes. Finally, since those two Korean literature history works are written by Chinese scholars, they focus on correlation between Chinese literature history and Korean literature history. However, several genre-related terminologies such as Xiaopin (a kind of essay), Yuefu (a kind of popular song/poem), Yuyan (fable), Shuochang (telling of popular stories with the interspersal songs), Shizhuan (biography or/and memoirs in history) were adopted directly from Chinese literature. In analyzing Korean literature using terminologies introduced from Chinese literature, differences between original and alternative definitions were not examined in detail. While some terminologies and concepts were adopted directly without further consideration as to state of the two nations, it is also interesting to note that dichotomy, mainly used in Korean literature history, was used to discuss the genre of Cheonki (romance tale), relevant to Suyichon and Keumosinhua, rather than follow traditions of Chinese literature history.

• Cross-Cultural Studies
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• v.44
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• pp.411-430
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• 2016

One of central issues in the Literature and Science discourses during the Victorian era is the relation of physiology to psychology. Many thinkers tackle the question of whether or not psychic phenomena can be reducible to their physiological bases. For instance, Victorian physiologist William Benjamin Carpenter claims that there should be a boundary between physiological and psychological qualities. Yet, his contemporary writer Grant Allen contends for the reduction of psychology into physiology. In the essay, I discuss Grant Allen's work Physiological Aesthetics (1877) so as to eventually problematize his physiological reductionism. I especially highlight the paradox of his physiological aesthetics. In order to clarify my argument, I introduce two concepts: evolutionary aesthetics and physiological reductionism. On the one hand, Allen argues for the development of aesthetic appreciation. The gradual evolution from gaudy to serene colors, for instance, reflects the fine differentiation of sensory organs. He believes that the existence of varied aesthetic pleasures corresponds to the evolution of sensory nerve structures. Nonetheless, Allen ironically gives more weight to the commonality of aesthetic experiences than to this teleological ordering of aesthetic experiences. He argues that there is no fundamental difference among humans in terms of their aesthetic assessments. Furthermore, there is even no essential distinction among plants, animals, and humans in light of their aesthetic appraisals, he states firmly. Although he asserts the gradual advance of aesthetic feelings caused by the intricacy of nervous systems, he simultaneously trivializes the evolution of aesthetic appraisal. In the essay, I highlight this paradox in Allen's physiological aesthetics. It should be underscored, lamentably enough, that Allen seeks biological purity by erasing fine lines among physiology, psychology, and sociality. He estranges aesthetic experiences from subjective variations and their socio-cultural contexts. He makes great efforts to eliminate individual differences and socio-cultural specificities in order to extremely biologize aesthetic experiences. Hence, Allen's physiological aesthetics is marked as the politics of physiological purification.