• Cross-Cultural Studies
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• v.25
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• pp.291-312
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• 2011

The academic world in Korea demands internationally competitive researches at the moment. However, there is a lack of understanding on research trends of Western countries. This research aims to understand how discussions on early modern Japanese plays are developed in Western countries such as America. Also, it aims to consider and compare the present situation of researches on early modern Japanese plays in Western countries, Japan and Korea. In Western countries, modern Japanese plays such as Kabuki and Joruri is accepted and enjoyed as universal plays of the world. It is not only because there is a background of enjoying plays such as Shakespeare's but also researches and translations are accumulated continuously from the early 20th century. In the early 20th century, the main theme of researches was about Kabuki actors in Ukiyoe which was collected because of an interest in orientalism. After 1930s, Japanese arts and handcrafts were sent to art museums in America in order to promote Japanese culture. Also, many Japanese books were donated to university libraries in order to form institutes of Japanology. The war was started when the foundation of Japanology was about to be laid. Students who were interested in Japan were mobilized to the war as agents to understand Japan. After the war, those students started to do researches on Japan on a full scale. There were researchers such as Donald Keen who did researches on Kabuki and Joruri. In western countries, there are researches on patterns of behavior and thoughts of Japanese people, comparison with Shakespeare's plays, dramaturgie, theatricalism as well as censorship of Kabuki during the war and mobilization of Kabuki to the war. It is necessary to understand where my researches are positioned in those research trends. It is also necessary to break away from overlapped and repeated researches of the same point of view and find out new research paradigms.

• Korean Journal of Human Ecology
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• v.13 no.5
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• pp.799-809
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• 2004

Our study found that the types and forms of patterns of Japan, although they are similar to those of Korea and China, hold their own distinctive aesthetic awareness. They were made so, because the Japanese had not simply copied the patterns from other countries and also had changed them in various ways for ages. Especially, geometric patterns were widely used on some types of kimono costumes and belts in Edo period. One of the most widely used patterns was called Suk Chup Mun, and Tatewaku pattern was another. The San Gil Mun and Chil Bo Mun pattern was least used. In the patterns combination, that of animal and plant patterns was general. A single geometric pattern was not used, but if any, it was in Sima patterns and latticed patterns. On the other hand, the combination of geometric and plant patterns was more frequently used as composite patterns than any other pattern, such as geometric pattern with home tools, or one with animal patterns or nature patterns. The geometric patterns that had appeared in Edo period were combined in paintings along with animal and home tools patterns, so it could become a representative pattern of the age.

• Journal of the Korea Fashion and Costume Design Association
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• v.3 no.1
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• pp.57-76
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• 2001

This study was intended to make a comparative analysis of the plastic features of Korean and Japanese dragon patterns found in the process of recreating traditions in comtemporary fashion based on the investigation into the style of expression in relation to the origin, formative evolution, symbolism and traditional costume of the dragon. The form of the dragon has evolved with some similarity and peculiarity between both countries and been changed into many kinds and diverse forms such as the humorous dragon pattern of the Yi Dynasty and the simplified and designed dragon pattern symbolizing the Japanese family crest and the like, Its symbolism has lasted in terms of the sacrificial object, royal power, good omen, Buddhist guardian and the like. There is a difference in the aesthetic sense due to the different traditions and cultural background between Korea and Japan, and the dragon pattern found in the process of recreating the tradition in comtemporary fashion manifested itself as the peculiar aspect. An attempt was made to make a comparative analysis of the dragon pattern found in comtemporary fashion between Korea and Japan. The following results were obtained: First, the commonality between both countries was to make a contemporary expression of the dragon pattern, which was expressed in a realistic form because of a traditionally inherent strong image of the dragon. On the other hand, the designed dragon pattern rarely found expression. It can be said that carefully treating the dragon pattern is attributed to the Oriental thinking like this. Second, Korean people have arranged one or more simplified dragon patterns taking on a form of the coiling dragon in the composition of the scattered point and made a comtemporary expression of them by the contrast of black and white shading in Korea. And the humorous form of the dragon pattern manifested itself in the Yi Dynasty. On the other hand, the case of printing the dragon pattern in the black dragon sword of all over the Kabuki costume in a pictorial composition has frequently appeared in Japan. And Japanese people have expressed its lightness and briskness rather than the dignity and strength that the dragon pattern gives with the use of strong color tones and new materials.

• Korean Journal of Heritage: History & Science
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• v.43 no.3
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• pp.334-365
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• 2010

Mother-of-Pearl craftwork sketch involves the whole process of making a piece of work. Therefore, it includes types, forms, sizes, and patterns of the work. Some information about when and by whom those works were manufactured and who ordered them are still found in some sketches. This paper seeks to find out popular types and patterns of the works in each period and its demand and the way of supply by examining the collection of approximately 1700 Mother-of-Pearl craftwork sketches from the period of Japanese colonization up to the present time, which are owned by Mr. Song Bang-wung, Important Intangible Cultural Heritage no.10. Typical patterns of sketches are the hua-jo(花鳥 : Flowers and Birds), the Sakunja(四君子 : Four Gracious Plants), cultural treasures, figures in folk tales, 'Su-bok(壽福)' characters, and landscape. The pattern sketches have changed according to the circumstances of Korean society. During the period of Japanese colonization from the 1920s to the 1940s the manufacture and the supply and demand of Mother-of-Pearl craftworks were controled by the Japanese government. As a result, many of the patterns were adjusted to the Japanese taste. Most of its customers were also Japanese. During the 1950s after Independence the American Military Forces appeared as new customers due to the Korean War. Thus, the traditional Korean patterns to decorate accessories adored by American soldiers gained popularity. Foreign Mother-of-Perls were imported from the late 1960s to the 1970s. They were bigger and more colorful than those of Korean and it enabled the sketches bigger and the patterns more various. The most popular pattern in this period was the pattern of cultural treasures, such as an image of Buddha, metalcraft works, porcelains and pagodas. In terms of a technique, new techniques, such as engraving and rusting were introduced. There was a great demand for Mother-of-Pearl craftworks in the 1970s as people were highly interested in them. They were entirely made to order and there was a large demand from diverse organizations, furniture dealers and individuals. And the Mother-of-Pearl craftwork was in full flourish in the 1970s due to the country's economic development and the growth of national income. Mass production of the works was possible and the professional designers who drew patterns actively worked in this period. The favor of Mother-of-Pearl craftworks declined in the 1980s since the built-in furniture and the Western style of furniture became prevalent due to the change of housing into apartments. But it seemed that the manufacture of Mother-of-Pearl craftworks revived for once the technique of Kunum-jil(끊음질 : cutting and attaching) became popular in Tong-young(統營). After the 1990s, however, the making of Mother-of-Pearl craftworks gradually declined as the need of them decreased. Now it barely maintains its existence by a few artisans.

• Journal of Ginseng Research
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• v.20 no.1
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• pp.42-48
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• 1996

This study was carried out to determine the differences of essential oil components among Korean, Chinese and Japanese red ginseng, and Korean white ginseng (Panax ginseng C.A Mayer) , American and Canadian ginseng (P. Quinquefolium), and sanchi ginseng (P notoginseng). The steam distilled oils of these ginsengs were analyzed by GC and GC-MS, and 22 sesquiterpenes, 8 sesquiterpene alcohols, 8 monoterpenes, 5 aldehydes, 4 esters, 3 acids, 2 alcohols and 5 miscellaneous components were identified. The major oil components of Korean, Chinese and Japanese red ginseng were $\beta$-panasinsene, $\beta$-caryophyllene, $\alpha$-panasinsene, $\alpha$-neoclovene, selina-4,11-diane, bicyclo-ger-macrene and spathulenol. The contents of $\beta$-panasinsene, $\alpha$-neoclovene, $\alpha$-basabolene and spathulenol were higher in Korean red ginseng than Chinese and Japanese red ginseng. The contents of $\alpha$-cubebene, selina-4,11-diene and ledol were higher in Chinese red ginseng than Korean and Japanese red ginseng, but those of selina-4,11-diene and spathulenol were lower in Japanese red ginseng than Korean or Chinese red ginseng. On the other hand, the GC patterns of the oils from American, Canadian and sanchi ginseng were different from that of Korean white ginseng.

• Speech Sciences
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• v.9 no.2
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• pp.69-87
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• 2002

This paper investigates how focus contributes to the phonological and phonetic realization of Japanese intonation. Pierrehumbert & Beckman (1988) pointed out that textual prominence results in the H-tone peak raising on the focused item and IP (Intonational Phrase) initiation before the focused item. Similarly Kori (1989) suggested that the F0 peaks on the words after the focused item tend to be suppressed. Although they give a general description of the characteristics of focus phenomena in Japanese intonation, they fail to explain the F0 peak interaction between H phrasal tone and lexically specified pitch accent in more-than-3-mora words whose accent locations varies from early to late. In this paper, we perform the experiment to investigate the following three points. First, we would like to look at the systematic intonational differences between focused and neutral APs; specifically, focused APs, either accented or unaccented, are compared with the neutral counterparts in terms of F0 pattern. Second, we investigate F0 patterns of a focused AP with more than 3 morae, as the accent of the word varies from early to late. Since an AP with a late accent has a H- on the second mora as well as H*+L on its accent mora, it is expected that these peaks will show systematic F0 pattern when it is focused. Our third concern is F0 patterns of a post focus AP with more than 3 morae, that is, whether a post-focus word is dephrased or just downstepped as the word accent location varies from early to late. This paper is significant in that it tries to clarify the F0 peak interaction between H-and lexical pitch accent H*+L in a variety of focus contexts in Japanese intonation.

• Proceedings of the Korean Society for Language and Information Conference
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• 2002.02a
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• pp.348-357
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• 2002

This paper discusses constraints on grammaticalization, a primarily diachronic process through which lexical elements take on grammatical functions. In particular, it will argue that two constraints on this process, namely Persistence and Lwering, explain the different distributional patterns of time-relationship adverbs in Japanese, Korean, English and German. Furthermore, it will suggest that the distributional difference between Japanese and Korean time-relationship adverbs is not an isolated phenomenon but is a reflection of the overall semantic typological differences between the two languages in the sense of Hawkins (1986).

• International Journal of Industrial Entomology and Biomaterials
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• v.2 no.2
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• pp.91-105
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• 2001

Taxonomic and phylogenetic studies of firefly in Japan have been reviewed. Fourty-six lampyrid species and one rhagophthalmid are distributed in the Japanese Islands including the Ryukyus. Recently, molecular phylogenetic approaches have been employed in the systematic study of firefly using mitochondrial and luciferase genes. Based on the molecular phylogenetic trees, evolutionary process of flashing patterns related strictly to mating behavior was estimated. Furthermore, genetic diversity studies revealed geographic differentiation patterns within species, and conservation measures of firefly were proposed to protect genetic resources endemic to the localities.

• The Research Journal of the Costume Culture
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• v.7 no.5
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• pp.140-151
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• 1999

This research was designed to study the different kinds of ancient patterns applied to the Korean traditional suit and the symbolism associated with these patterns being used the prevalent Han-bok collections in markets. The shapes and changes in the use of the patterns can be summarized as follows. The published collections in the last 5 years were specifically concentrated between 1996 and 1997, proving that the development in Han-bok designs was most active during that time. But the trend decreased due to the effects of a depressed domestic economy. The plant pattern was the most utilized pattern for practical purposes. It looks beautiful and it is also easily manufactured with open space. Symmetrical and linear arrangements make customers feel stable at sight and these patterns tend to attract public gaze resulting in increased sales. There is a problem whether to continue using the existing patterns of the Han-bok without any correction or whether to copy the pattern of the kimono or the western suit. Copying other patterns definitely hurts the elegance of the Han-bok. It is time for us to not only keep our own traditions but also to study and develop new patterns that are distinct from the Chinese and Japanese patterns. The following are suggested as the basic materials.

• Journal of Veterinary Clinics
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• v.18 no.4
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• pp.380-389
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• 2001

Non-human primates have been increasing in demand as important experimental animals and companion animals, domestically and internationally. The number of non-human primates for these purposes will be much enhanced in the near future. Despite this trend, basic physiological data are scarcely available in these animal species, leading to the difficulty to diagnose diseases when necessary, due to the absence of reference values. Particularly, there is not any report on the total activity of LDH of non-human primates, let alone LDH isoenzyme patterns, in Korea. LDH isoenzymes have a high level of efficaciousness as diagnostic and prognostic aids in various diseases. In this study, total activities and isoenzyme patterns of LDH were measured to obtain their reference values in domestically reared common marmosets, crab-eating macaques and Japanese macaques. There were widespread different values of serum total LDH among the non-human primate species experimented in this study. Serum LDH values of common marmosets and crab-eating macaques were 597.5$\pm$243.1 IU/l and 605.3$\pm$312.6 IU/l, respectively, whereas those of Japanese macaque showed 1,209$\pm$473.8 IU/l. Five isoenzyme fractions of LDH were observed in all experimented non-human primates but their ranks and proportions represented different patterns one another. In common marmosets, the percent of fraction for serum LDH1, LDH$_2$, LDH$_3$, LDH$_4$, and LDH$_{5}$ was 13.7$\pm$6.4%, 23.3$\pm$3.6%, 29.2$\pm$5.0%, 9.4$\pm$1.4% and 24.4$\pm$7.5%, respectively. The rank of LDH isoenzymes was LDH$_3$>LDH$_{5}$>LDH$_2$>LDH$_1$>LDH$_4$, in the descending order. For crab-eating macaques, the fraction of serum LDH$_1$, LDH$_2$, LDH$_3$, LDH$_4$, and LDH$_{5}$ occupied 19.5$\pm$12.7%, 25.3$\pm$9.3%, 23.8$\pm$8.1%, 10.2$\pm$2.8% and 21.3$\pm$14.2%, respectively. The order of LDH isoenzymes was LDH$_2$>LDH$_3$>LDH$_{5}$>LDH$_1$>LDH$_4$, from top to down. On the while, in Japanese macaques, the fraction of serum LDH$_1$ to LDH$_{5}$ showed 23.4$\pm$11.8%, 30.5$\pm$4.1%, 17.4$\pm$3.9%, 11.3$\pm$3.7% and 13.8$\pm$5.6%, respectively. The decreasing order indicated LDH$_2$>LDH$_1$>LDH$_3$>LDH$_{5}$>LDH$_4$. In conclusion, values such as LDH and LDH isoenzyme patterns of investigated for the first time from non-human primates reaared in Korea, could be reference values for the optimal diagnosis and therapy of diseases of the corresponding animal species. Other parameters of hematology and blood biochemistry are urgently needed to study for the benefit of our intimate non-human primates.an primates.