• The Sea:JOURNAL OF THE KOREAN SOCIETY OF OCEANOGRAPHY
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• v.18 no.4
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• pp.186-194
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• 2013

We investigated the concentrations and distribution patterns of 17 polychlorinated dibenzo-p-dioxins/dibenzofurans(PCDD/Fs), 12 dioxin-like polychlorinated biphenyls(DL-PCBs) and 24 polybrominated diphenyl ethers(PBDEs) in sediments from Ulsan Bay in Korea. The concentrations of PCDD/Fs, DL-PCBs, and PBDEs in 33 sediment samples ranged from 0.11 to 4.86($1.81{\pm}1.04$) pg $WHO_{2005}$-TEQ $g^{-1}$ dry weight(dw), 0.06 to 44.2($4.02{\pm}7.99$) pg $WHO_{2005}$-TEQ $g^{-1}$ dw, and 2.81 to 63.8($19.4{\pm}13.9$) ng $g^{-1}$ dw, respectively. DL-PCBs had dominant contributions(mean, 88%) of total TEQ concentrations in sediment. The concentrations of target compounds in inner locations were higher than those in outer locations in Ulsan Bay (p<0.05). The dominant contribution of highly chlorinated DD/Fs in sediment was associated with combustion process from industrial complexes. Distribution pattern of DL-PCBs was similar with those of commercial PCB products. BDE209 was a dominant congener in sediment, suggesting high use amount of commercial deca-BDE product in surrounding areas.

• Korean Journal of Remote Sensing
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• v.38 no.5_1
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• pp.609-625
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• 2022

Validation of satellite data products is critical for subsequent analysis that is based on the data. Particularly, performance of ocean color products in turbid and shallow near-land ocean areas has been questioned for long time for its difficulty that stems from the complex optical environment with varying distribution of water constituents. Furthermore, validation with ship-based or station-based measurements has also exhibited clear limitation in its spatial scale that is not compatible with that of satellite data. This study firstly performed validation of major GOCI-II products such as remote sensing reflectance, chlorophyll-a concentration, suspended particulate matter, and colored dissolved organic matter, using the in-situ measurements collected from ship-based field campaign. Secondly, this study also presents preliminary analysis on the use of drone images for product validation. Multispectral images were acquired from a MicaSense RedEdge camera onboard a UAV to compensate for the significant scale difference between the ship-based measurements and the satellite data. Variation of water radiance in terms of camera altitude was analyzed for future application of drone images for validation. Validation conducted with a limited number of samples showed that GOCI-II remote sensing reflectance at 555 nm is overestimated more than 30%, and chlorophyll-a and colored dissolved organic matter products exhibited little correlation with in-situ measurements. Suspended particulate matter showed moderate correlation with in-situ measurements (R²~0.6), with approximately 20% uncertainty.

• Journal of International Area Studies (JIAS)
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• v.14 no.1
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• pp.77-106
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• 2010

As for the matter of guardianship-benefit network which has been at the heart of the discussion of power elites and clan politics in Kazakhstan, it has been often maintained that it is basically formed by the framework of the regional and descent connection net called Zhuz or at least it has been heavily under Zhuz's influence. But it is pointed out that the controversy of Zhuz suffers from a lot of limitations in explaining the surface of power elites in the recent process of political changes and the rearrangement of power relations. Consequently, this paper tried to take a closer look at the matter focusing on the social backgrounds of elites from Junior zhuz, who have been estimated to be relatively pushed back in terms of the advancement into the central power. As a result, it was found that the backgrounds of clan and tribe origin within Zhuz couldn't have any foundation to be seen as a decisive element through which they could grow into power elites. The phenomenon of Kazakhstani elites is a legacy of concrete historic situations. The important consideration points for analyzing the emergence of elites which could be applied to a nomadic and traditional society can hardly be an invariable framework for analyzing modern elites since independence. Since 2000, Kazakhstan has experienced economic changes including privatization due to the absolute strengthening of presidential influence which turned into a foundation for a new authoritarian system, the rearrangement of the inner circle of power, and their decisions. These changes in situations have had profound effects on the character of power elites. The phenomenon that clandestine connections have shown their appearances as they have gotten intertwined with various factors, in particular, in the economic field which has been heavily under Junior zhuz makes us convinced that the elite organization in Kazakhstan has always been the product of political and economic changes. In reality, the behaviors of elites were the outcome continuously reflecting environmental situations surrounding them, and those situations lie in a complicated and multiple-layered connection net. Therefore, it is believed that having interests in elites' social backgrounds and maintaining many pieces of information on them will be able to be a more useful approach to analyzing the elite society in the future in that interests in their social backgrounds become an informant of various network formation nets which reflect real situations.

• (The) Research of the performance art and culture
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• no.43
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• pp.5-46
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• 2021

The film Moranbong is the product of a trip to North Korea in 1958, when Armangati, Chris Marker, Claude Lantzmann, Francis Lemarck and Jean-Claude Bonardo left at the invitation of Joseon Film. However, for political reasons, the film was not immediately released, and it was not until 2010 that it was rediscovered and received attention. The movie consists of the narratives of Young-ran and Dong-il, set in the Korean War, that are folded into the narratives of Chunhyang and Mongryong in the classic Chunhyangjeon of Joseon. At this time, Joseon's classics are reproduced in the form of the drama Chunhyangjeon, which shares the time zone with the two main characters, and the two narratives are covered in a total of six scenes. There are two layers of middle-story frames in the movie, and if the same narrative is set in North Korea in the 1950s, there is an epic produced by the producers and actors of the Changgeuk Chunhyangjeon and the Changgeuk Chunhyangjeon as a complete work. In the outermost frame of the movie, Dong-il is the main character, but in the inner double frame, Young-ran, who is an actor growing up with the Changgeuk Chunhyangjeon and a character in the Changgeuk Chunhyangjeon, is the center. The following three OST albums are Corée Moranbong released in France in 1960, Musique de corée released in 1970, and 朝鮮の伝統音樂-唱劇 「春香伝」と伝統樂器- released in 1968 in Japan. While Corée Moranbong consists only of the music from the film Moranbong, the two subsequent albums included additional songs collected and recorded by Pyongyang National Broadcasting System. However, there is no information about the movie Moranbong on the album released in Japan. Under the circumstances, it is highly likely that the author of the record label or music commentary has not confirmed the existence of the movie Moranbong, and may have intentionally excluded related contents due to the background of the film's ban on its release. The results of analyzing the detailed scenes of the Changgeuk Chunhyangjeon, Farewell Song, Sipjang-ga, Chundangsigwa, Bakseokti and Prison Song in the movie Moranbong or OST album in the 1950s are as follows. First, the process of establishing the North Korean Changgeuk Chunhyangjeon in the 1950s was confirmed. The play, compiled in 1955 through the Joseon Changgeuk Collection, was settled in the form of a Changgeuk that can be performed in the late 1950s by the Changgeuk Chunhyangjeon between 1956 and 1958. Since the 1960s, Chunhyangjeon has no longer been performed as a traditional pansori-style Changgeuk, so the film Moranbong and the album Corée moranbong are almost the last records to capture the Changgeuk Chunhyangjeon and its music. Second, we confirmed the responses of the actors to the controversy over Takseong in the North Korean creative world in the 1950s. Until 1959, there was a voice of criticism surrounding Takseong and a voice of advocacy that it was also a national characteristic. Shin Woo-sun, who almost eliminated Takseong with clear and high-pitched phrases, air man who changed according to the situation, who chose Takseong but did not actively remove Takseong, Lim So-hyang, who tried to maintain his own tone while accepting some of modern vocalization. Although Cho Sang-sun and Lim So-hyang were also guaranteed roles to continue their voices, the selection/exclusion patterns in the movie Moranbong were linked to the Takseong removal guidelines required by North Korean musicians in the name of Dang and People in the 1950s. Second, Changgeuk actors' response to the controversy over the turbidity of the North Korean Changgeuk community in the 1950s was confirmed. Until 1959, there were voices of criticism and support surrounding Taksung in North Korea. Shin Woo-sun, who showed consistent performance in removing turbidity with clear, high-pitched vocal sounds, Gong Gi-nam, who did not actively remove turbidity depending on the situation, Cho Sang-sun, who accepted some of the vocalization required by the party, while maintaining his original tone. On the other hand, Cho Sang-seon and Lim So-hyang were guaranteed roles to continue their sounds, but the selection/exclusion patterns of Moranbong was independently linked to the guidelines for removing turbidity that the Gugak musicians who crossed to North Korea had been asked for.