• Journal of International Area Studies (JIAS)
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• v.15 no.1
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• pp.109-134
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• 2011

Drug-related crime has increased in spite of visible results of Uribe government's hard-line policies on drug eradication and illegally armed organizations which were pursued under U.S. support, without the accompaniment of quantity change in drug cultivation and trade. Military disputes of left-right illegally armed communities surrounding illegal crop cultivation rights were rather intensified, and the number of refugees was increased through enforced displaced people. The 2005 refugee registration committee RUPD reports that 3,316,862 people, 7.3% of total population, were refugees. In particular, the number of refugees presented a large increase rate of 624% when compared to the past year due to enforced displaced people. Main discharge areas of enforced displaced people are connected with drug crime and activities of illegally armed organizations, and are places of increased armed disputes in the process of occupied territory expansion of illegally armed communities and militia. Undiscriminated attacks were executed on farmers in the process of occupation of illegal crop cultivation sites by illegally armed organization and militia to emit enforced displaced people, who moved to border areas by crossing national borders. Enforced displaced people were restricted to certain areas before the appearance of Uribe administration. However, enforced displaced people not only presented quantitative expansion, but also showed tendency of nationwide expansion after national security policy was pursued. With the closing of the Amazon area, previously the main route of drug trade, activity base of illegally armed organizations was moved to the Pacific region, and Panama border area experienced refugee increase due to the new policy of enforced displaced people. This study aims to understand the actual condition and cause for the increase in refugees in Colombia based on border areas of Venezuela, which is the nation of highest dispersion of Columbian refugees, Panama, which has appeared as a new destination for refugees after the 90s, and Ecuador, which has experienced sudden refugee increase in 2000.

• Journal of Practical Agriculture & Fisheries Research
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• v.16 no.1
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• pp.193-206
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• 2014

The objectives of the project are to increase farmers' income through GAP and to reduce the loss of agricultural produce, for which the Korean partner takes a role of transferring needed technologies to the project site. To accomplish the project plan, it is set to implement the project with six components: construction of buildings, installation of agricultural facilities, establishment of demonstration farms, dispatching experts, conducting training program in Korea and provision of equipments. The Project Management Committee and the Project Implementation Team are consisted of Korean experts and senior officials from Department of Agriculture, Myanmar that managed the project systematically to ensure the success of the project. The process of the project are; the ceremony of laying the foundation and commencing the construction of training center in April, 2012. The Ribbon Cutting Ceremony for the completion of GAP Training Center was successfully held under PMC (MOAI, GAPI/ARDC) arrangement in SAl, Naypyitaw on June 17, 2012. The Chairman of GAPI, Dr. Sang Mu Lee, Director General U Kyaw Win of DOA, officials and staff members from Korea and Myanmar, teachers and students from SAl attended the ceremony. The team carried out an inspection and fixing donors' plates on donated project machineries, agro-equipments, vehicles, computers and printer, furniture, tools and so forth. Demonstration farm for paddy rice, fruits and vegetables was laid out in April, 2012. Twenty nine Korean rice varieties and many Korean vegetable varieties were introduced into GAP Project farm to check the suitability of the varieties under Myanmar growing conditions. Paddy was cultivated three times in DAR and twice in SAl. In June 2012, vinyl houses were started to be constructed for raising seedlings and finished in December 2012. Fruit orchard for mango, longan and dragon fruit was established in June, 2012. Vegetables were grown until successful harvest and the harvested produce was used for panel testing and distribution in January 2013. Machineries for postharvest handling systems were imported in November 2012. Setting the washing line for vegetables were finished and the system as run for testing in June 2013. New water tanks, pine lines, pump house and electricity were set up in October 2013.

• Journal of the Daesoon Academy of Sciences
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• v.33
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• pp.319-349
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• 2019

This study aims to elucidate the origin and yield of life and its characteristics and purpose in Daesoon Thought. Thereby, Taegeuk (the Great Ultimate) and Sangje (the Supreme God) have been deemed the source and ontology of life. The structure of each living creature is explained through reason (理), energy (氣) and spirit (神). In addition, through vital reason and living energy, the purpose of life makes the realization of the benevolent characteristics of life possible through the mind of Sangje. This line of research is unique among currently available research views of life as it perceives the spirit to be an ontological entity with functions and interactive engagement. By way of contrast, prior research suggests that spirit is life itself and includes it in the category of life and death. The Daesoon view of life is unique in that it is somewhat influenced by ontology and developmental theories from Confucianism, yet the concept of divine beings suggests a humanistic Sangje, who presides over the Great Ultimate. The realization of reason in this model is rather thought-provoking. Humans, just like other living things, are born with vital essence and function and interact as a main source to preside over the innate spirits inside themselves. Humans take responsibility for a certain sphere in the Three Realms that make up the world. They are also recognized as a significant feature in the world. Such an idea in Daesoon Thought depicts that 'the enshrinement of spirit into human being (神封於人),' follows Heaven and Earth. This is done to rectify humans in order to meet the needs of the universe and ultimately establish the era of the enshrinement of spirits into human beings. As for humanity, this possibility exists because of the spirits contained within their inner-selves. When cultivating oneself, humans and outer spirits actively interact with each other. This is likely to cause changes in a human's constitution and characteristics. In the end, one can be enshrined with corresponding divine beings according to one's degree of cultivation. Humans are born through the command of Sangje and the accomplishments of their ancestors as well as the energy of the universe. Present day humans encounter the era of human nobility and the era of humankind's divine salvation. Thereby, the purpose of human life is to contribute to the universe. To achieve this goal, the most important thing is to wholly realize that one's nature and reason were endowed by Heaven, which emerged from virtuous conduct in society. This is also akin to the movement of reason in Jeungsanist Thought. Sangsaeng (mutual beneficence) among oneself and others and between human beings and divine beings can be completed through the resolution of grievances for mutual beneficence and the grateful reciprocation of favors for mutual beneficence. If one accomplishes the perfected state of one's own nature and reveals it wholly, then one will be fully able to interact with spirits and reach the state of the human nobility.

• Journal of the Daesoon Academy of Sciences
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• v.28
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• pp.37-72
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• 2017

The purpose of this article is to study the prospect of implementing a public common practice of ethics based on the 'Reordering Works of Heaven and Earth.' The 'Reordering Works of Heaven and Earth' demonstrated the prospect of a public common practice of ethics through the shared public action that would connect and mediate both the public domain and the private domain. In addition, the 'Reordering Works of Heaven and Earth' of Gucheon Sangje (九天上帝) provided us with a complete transformation, meaning the opening of a new era, transforming heaven and earth from their state in the Prior World to their optimized state in the Later World. This culminates in a new manifestation of a peaceful world revealed a prosperity and the prospect of common happiness and common order for the public. In addition, the 'Reordering Works of Heaven and Earth' has a public value as a religious culture that responds to social change and social needs. The 'Reordering Works of Heaven and Earth' revealed the prospect of a public common practice of ethics, placed importance on creating a new foundation, and restoring phenomena back to its original order. The 'Reordering Works of Heaven and Earth' presented various multi-faceted, multi-layered outlets of soteriology while exploring solutions to public issues and revealing human dignity. Through the new construction of Heaven and Earth, Gucheon Sangje had intervened in projects for human relief. The public ethical indicators of 'the actor' here are in line with those of the 'Non-action Tao' of Laozi. As the cosmos enters into the new epoch, humans have living together with the previous cosmic principle. Now we can expect the Prior World to open into a different era as humans embrace a cosmic life of 'Non-action Tao.' The active conjunction of the virtues of yin and yang is an idea of horizontal communication related to reordering of the universe. The harmonious union of divine beings and human beings suggests the way of enabling vertical communication. The resolution of grievances for the mutual beneficence of life is an ethics of peace that aims at achieving coexistence and prosperity. The private realization of Tao and the completion of the Tao in the world suggest the prospect of a common practice of ethics as means of implementing human dignity.

• (The) Research of the performance art and culture
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• no.41
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• pp.257-284
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• 2020

Goseong Ogwangdae started academic research in the late 1950s and was designated as a national intangible cultural asset in 1964. From the time of the academic survey to the time of designation, it was recorded as using paper masks, but when the recording image was filmed in 1965, it was already changed to wooden masks. In 1960, before being designated as an intangible cultural asset, the number of masks, which was 9 points, gradually increased to 19 points in 1964. It is necessarily included in the leper, Chorani, Malttuki, Cheongbo-Yangyang, Halmi, and Jemilju, but the character of the yangban is not yet clearly differentiated. Hwangbongsa and Sangju appeared as bare faces, and consumption, milling, Cheongbo-Yangyang are used together with Bibi and inspiration. It can be guessed that Bibi was not the appearance of a foreign object with horns as it is now, considering that Bibi and Madangsoi were used together. Since 1965, shortly after the designation, the whole of the Goseong Ogwangdae mask has been changed to a wooden mask. All the characters except for resident, courtyard, and top-of-the-line are wearing masks. Bibi, Hongbaek, and service masks have never appeared until 1964. The Yangban was changed to the closing ceremony with six people in the order of Won-Yangban, Baekje, Heukje, Cheongje, Hongbaek, and Jonggadoryong. Starting in 1969, the mask enters the stable period where the kind is the same as the present. Bibi-Yangban uses both the Won-Yangban and the Jemilju uses the Somu, but all other characters use the individual mask to use a total of 18 masks. The Yangbans are clearly differentiated, and a total of seven Yangban appear. The reason why the change in the type of mask and the expression of material is so large is that the first generation of mask makers died and the tradition of mask production was cut off, but there is also a cause of the extreme change in the environment of the drama that the performers who joined after the designation had to face. Also, it is closely related to the change of the times when the meaning and weight of masking in masking has changed. At that time, the performers were not so tied to the current concept of 'original form' that they preserved the appearance of the designated time. Originally, Goseong Ogwangdae was centered on improvisation dance, not the formalized dance as it is now, and there was a certain fluid aspect in the retelling, so it was flexible in the use of masks even before the designation of cultural assets. Strict rules did not apply in the details, as it was a self-sufficient play by the performers, not an offer event. The form and contents of this fluid play are changed to preparation for the performance while preparing for the folk art contest. As the subject of the contest in self-sufficient play, dance, costumes, and props became more and more colorful as well as dancing, costumes, and props. As a result, participation in the contest brought about changes in the overall performance and changed the mask, which was accepted within the preservation society.

• (The) Research of the performance art and culture
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• no.43
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• pp.121-143
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• 2021

The Aim of the this paper is to figure out impetus of the Naeseo Traditional Folk art Conservation Association. This Preservation Society derived from Hogaeri farmers' band. Through aging and hollowing out Hogaeri farmers' band got into a period of stagnation. In order to overcome slump villager and people of a township organized a conservation society in 1994. Members restored and directed folk song which from age to age for performance. are designated as cultural asset in 2017. Sutguldeong song is only song in inland area. This song are worthy of notice in . which is consist of various agricultural work songs experienced two changes. Rice-planting songs are characteristic. Especially, Executive playing a central role harden foundation of the Preservation Society. The mainspring of activity is the sense of responsibility. Preservation Society laying emphasis on recruiting new members. Preservation Society is planning to develop curriculum for Jurisdiction elementary and middle school students. This Preservation Society is made up of First generation members and Second generation members. First generation members who are born and bred in Hogaeri have been good friends both in joy and in sorrow Early days of Preservation Society. So, They has a strong family bond. In order to induce membership Members are practicing Nongak, popular folk songs, dancing program. Second generation members are not conversant with a folk song. Nonetheless They have a strong mind on a member line.

• (The) Research of the performance art and culture
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• no.42
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• pp.77-106
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• 2021

The history of The Korean Buddhist music dates back to as early as the 2nd year of Goguryeo King Sosoorim's reign (372) when Buddhism was introduced to the land for the first time and should cover the entire development to this date, which spans over 1,600 years. The extensive scope of research is overwhelming and research efforts are limited at best. Against this backdrop, this study aims to examine how the historical development of The Korean Buddhist music has unfolded over such a long period of time and to understand how the Buddhist music is supposed to further develop in this land in and after the 21st century. Since the Three Kingdoms period, followed by Goryeo and Joseon Dynasty period, Japanese colonial period, and to this date, the history of the Buddhist music has unfolded in line with the 'ups and downs of the history of Buddhism'. The Buddhist music is characterized by various development paths based on historical peculiarities over different periods, including protection by the royal family during the Three Kingdoms period, aspect of Buddhist music during the Goryeo Dynasty period, policy to worship Confucianism and suppress Buddhism during the Joseon Dynasty period, harsh repression of Buddhism during the Japanese colonial period, and the present Buddhist music seeking new ways of proliferating Buddhism among the public, which requires an effort to understand the different characteristics of different periods by identifying key perspectives and tasks of Buddhist music in different periods. In this vein, this article includes not only the history of 'Beompae(Buddhist Chant)', a collective term for Buddhist music in a narrow sense but also all Buddhist music characterized by with Buddhism that is communicated in this land and extends its coverage even to Chanbulga(Buddhist hymn)讚佛歌 music created in and after the 20th century. It also examines the historical development of Buddhism related music in this land. Another task of this article is to understand the Myeongching-gagok 名稱歌曲 sung by monks in the early Joseon Dynasty period, music created for public mission work during the Joseon Dynasty period, the meaning of the existence of 'Hwacheong' 和請, and the traces of Buddhist music existing in the music of the Joseon Dynasty period.

• (The) Research of the performance art and culture
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• no.42
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• pp.257-290
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• 2021

The Wonju Nongyo (agricultural work song) is geographically classified as eastern minyo (folk song) which has many distinctive, regional features such as tunes, forms and the use of a melodic line. There has been growing attention to the transmission value of the nongyo including the Wonju Eorirang of the Wonju Origol Nongyo and its region of origin. The Wonju Nongyo is of great value and worthy of preservation in the western part of Gangwon Province. For this reason, it seems fairer to say that a focus should be directed towards establishing the identity of the song and increasing the contextualisation of transmission. At the same time, the preservation association's efforts in passing the traditional song down and education activities fairly deserve equal attention. In addition to the way the folk songs are handed down, a discussion on the facilitation of their use will be required. An in-depth discussion about the restoration and use of the song will be encouraged in a multifaceted manner. Unfortunately, few of the previous literatures on nongyo has gone so far as to investigate Arirang as a separate research topic. In fact, the Wonju Origol Nongyo should be viewed as an intangible cultural asset that paved the way for performance artistry of the Korean agricultural work songs to be seen at a national folk art festival. From the perspective of regional characteristics (traditionally termed "tori"), the Wonju Eorirang represents the cultural value of the manners and customs of our locals which constitute unwritten and neglected literary property and musicality of the song. Particularly, a more attention should be paid to making a record of woodcutters and diversity of farmers' small cooperative groups. The existence of the Wonju Eorirang indicates that the melodies to which the song are sung in Nongyo are of infinite variety. A minyo-singer unfolds various journeys of life through various modes and structure of epic chants, ranging from first encounter, love to marriage, realistic problems to relationship with husband's family and death. The epic chant of the Wonju Origol Nongyo contains a rich variety of regional sentiments about life. In particular, the epic chants of the Galtteukgisor and Ssoeltteukgisori are a genius example of sexual satire and a sense of humor. In the past, the agricultural work songs were rhythmic songs served to synchronize physical movements in groups, coordinating tasks in upland farming and rice paddy with the usage of catchy, repetitive verses easy to pass down. The Wonju Origol Nongyo is a precursor of the work songs which took the farming activities a notch higher to be part of the excitement and festivals. In the context of transmission, a festival serves to demonstrate the value of history and life. The value of the Wonju Eorirang should be appreciated and a concerted effort should be made to find a way to facilitate the transmission of the folk song. A folk-singer is a traditional oral poet and a storyteller of minyo and the forms and species of melody solely depend on the signer. The combination of performance and witticism is shown by the singer freely expressing himself. The Origol Nongyo symbolizes ethnic arts cleverly combining playful effects such as tune, rhythm and old agricultural work of the region. It is to be hoped that much of the efforts is directed to designating such folk songs as the archetype of a cultural heritage. In terms of the foundation on which the folk songs are transmitted, the usage(Performance Content) of a community would be an alternative.

• Economic and Environmental Geology
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• v.56 no.1
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• pp.1-11
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• 2023

In this study, we explore the morphological and geochemical characteristics for 440 manganese nodules collected from two different water depths [ARA12B-St52 (150 m, n = 239) and ARA12B-St58i (73 m, n = 201)] on the continental shelf of the East Siberian Sea from the ARA12B expedition in 2021. We also discussed the variations in the characteristics of manganese nodules with varying water depths in the Arctic Sea. The sizes of the nodules are generally greater than 3 cm at both sites. However, there is an obvious difference in the morphology with water depths. For the nodules collected at 150 m, brown-black colored tabular, tube, and ellipsoidal shapes with a rough surface texture are dominant. On the other hand, yellow-brown tabular shapes with a smooth surface texture are common for the nodules collected at 73 m. Furthermore, the slope of trend line between size and weight is significantly different at both sites: particularly, the slopes of nodules at 150 and 73 m are 1.60 and 0.84, respectively. This indicates the difference in the internal structure, porosity, and constituting elements between both nodules. Micro X-ray Flourescence (µ-XRF) results clearly demonstrate that the internal textures and chemical compositions are different with water depths. The nodules at 150 m are composed of a thick Mn-layer and a thin Fe-layer centered on the nucleus, while the nodules at 73 m are alternately grown with thin Mn- and Fe- layers around the nucleus. The average chemical compositions obtained by µ-XRF are 40.6 wt% Mn, 5.2 wt% Fe, and 7.9 Mn/Fe ratio at 150 m, and 10.3 wt% Mn, 19.0 wt% Fe, and 0.6 Mn/Fe ratio at 73 m. The chemical compositions of the nodules at 150 m are similar to those of nodules from the Peru Basin in the Pacific Ocean, while the compositions of the nodules at 73 m are similar to those of nodules from the Cook Islands or the Baltic Sea. The observed morphological and geochemical characteristics of the nodules show a clear difference at the two sites, which indicates that the aqueous conditions and formation processes of the nodules in the Arctic Sea vary with the water depths.

• Journal of Korean Port Research
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• v.12 no.1
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• pp.35-46
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• 1998

The CY can be said to function in various respect as a buffer zone between the maritime and overland inflow-outflow of container. The amount of storage area needed requires a very critical appraisal at pre-operational stage. A container terminal should be designed to handle and store containers in the most efficient and economic way possible. In order to achieve this aim it is necessary to figure out or forecast numbers and types of containers to be handled, CY area required, and internal handling systems to be adopted. This paper aims to calculate the CY area required for each container handling system in Mokpo New Port. The CY area required are directly dependent on the equipment being used and the storage demand. And also the CY area required depends on the dwell time. Furthermore, containers need to be segregated by destination, weight, class, FCL(full container load), LCL(less than container load), direction of travel, and sometimes by type and often by shipping line or service. Thus the full use of a storage area is not always possible as major unbalances and fluctuations in these flow occuring all the time. The calculating CY area must therefore be taken into account in terms of these operational factors. For solving such problem, all these factors have been applied to estimation of CY area in Mokpo New Port. The CY area required in Mokpo New Port was summarized in the conclusion section.