• Korean Journal of Food Science and Technology
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• v.51 no.1
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• pp.81-89
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• 2019

This study was performed to confirm the influence of chlorogenic acid (CGA) and 3,5-dicaffeyolquinic acid (3,5-diCQA) intake on problems caused by high-fat diet. CGA was more effective in suppressing weight gain than 3,5-diCQA. In contrast, 3,5-diCQA was more effective in improving glucose tolerance than CGA. In the biopsy, it was confirmed that CGA inhibited visceral fat and liver fat accumulation. 3,5-diCQA also inhibited visceral fat accumulation, but 3,5-diCQA increased liver fat accumulation. The liver fat accumulation induced oxidative stress, but 3,5-diCQA reduced oxidative damage through its antioxidant activity. The increased liver fat accumulation was because a 3,5-diCQA greatly increased Akt phosphorylation and decreased AMPK phosphorylation in the liver. Consequently, CGA was effective in alleviating the problems caused by high-fat diets, while maintaining normal balance. 3,5-diCQA also showed a positive effect on problems caused by high-fat diets, but it increased liver fat accumulation and thereby had negative consequences.

• Industry Promotion Research
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• v.6 no.3
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• pp.9-17
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• 2021

Childcare teacher experience emotional labor that suppresses, exaggerates, controls and regulates their emotions in order to produce the positive image required in the nursery field. The working environment for infants and toddlers has a problem of lowering the quality of life as a cause of psychological exhaustion of the emotional labor childcare teacher. Because singing helps to improve the quality of human life, research is needed to enable emotional labor childcare teacher to recover from psychological exhaustion and plan a positive life in the process of self-care. First, how is the psychological exhaustion of the emotional labor childcare teacher through song psychotherapy? Second, how is the process of self-care of the emotional labor childcare teacher through song psychotherapy? The study was conducted from March 2017 to May 2020, and through qualitative case studies, data such as in-depth interviews, direct observations, and participation observations were collected at the ○○○ daycare center for 50 minutes every 12 sessions. Based on the above findings, the following conclusions were drawn: First, through singing psychotherapy, emotional labor and childcare staff were able to discover, understand, recognize, face, communicate, and insight into their will to live, psychologically exhausted themselves. Emotional support from others can reduce the experience of emotional depletion and demonstrate a recovery of experience and an improvement in achievement due to frustration at work. Second, the self-care of the emotional labor child care teacher through song psychotherapy proved the temporal, spatial, relational, and emotional caring process, while maintaining the balance between caring for others and caring for oneself, body, mind, and spirituality are organic change. In this study, the psychological exhaustion and self-care process provides an opportunity to discover the essence of life, explore and express one's inner self, take care of others and oneself in a balanced manner, and provide insights for a whole person and healthy self. It is significant in providing opportunities to improve the quality of life through growth.

• Journal of Astronomy and Space Sciences
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• v.22 no.2
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• pp.147-174
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• 2005

To understand the physical processes that control the high-latitude lower thermospheric dynamics, we quantify the forces that are mainly responsible for maintaining the high-latitude lower thermospheric wind system with the aid of the National Center for Atmospheric Research Thermosphere-Ionosphere Electrodynamics General Circulation Model (NCAR-TIEGCM). Momentum forcing is statistically analyzed in magnetic coordinates, and its behavior with respect to the magnitude and orientation of the interplanetary magnetic field (IMF) is further examined. By subtracting the values with zero IMF from those with non-zero IMF, we obtained the difference winds and forces in the high-latitude 1ower thermosphere(<180 km). They show a simple structure over the polar cap and auroral regions for positive($B_y$ > 0.8|$\overline{B}_z$ |) or negative($B_y$ < -0.8|$\overline{B}_z$|) IMF-$\overline{B}_y$ conditions, with maximum values appearing around -80$^{\circ}$ magnetic latitude. Difference winds and difference forces for negative and positive $\overline{B}_y$ have an opposite sign and similar strength each other. For positive($B_z$ > 0.3125|$\overline{B}_y$|) or negative($B_z$ < -0.3125|$\overline{B}_y$|) IMF-$\overline{B}_z$ conditions the difference winds and difference forces are noted to subauroral latitudes. Difference winds and difference forces for negative $\overline{B}_z$ have an opposite sign to positive $\overline{B}_z$ condition. Those for negative $\overline{B}_z$ are stronger than those for positive indicating that negative $\overline{B}_z$ has a stronger effect on the winds and momentum forces than does positive $\overline{B}_z$ At higher altitudes(>125 km) the primary forces that determine the variations of tile neutral winds are the pressure gradient, Coriolis and rotational Pedersen ion drag forces; however, at various locations and times significant contributions can be made by the horizontal advection force. On the other hand, at lower altitudes(108-125 km) the pressure gradient, Coriolis and non-rotational Hall ion drag forces determine the variations of the neutral winds. At lower altitudes(<108 km) it tends to generate a geostrophic motion with the balance between the pressure gradient and Coriolis forces. The northward component of IMF By-dependent average momentum forces act more significantly on the neutral motion except for the ion drag. At lower altitudes(108-425 km) for negative IMF-$\overline{B}_y$ condition the ion drag force tends to generate a warm clockwise circulation with downward vertical motion associated with the adiabatic compress heating in the polar cap region. For positive IMF-$\overline{B}_y$ condition it tends to generate a cold anticlockwise circulation with upward vertical motion associated with the adiabatic expansion cooling in the polar cap region. For negative IMF-$\overline{B}_z$ the ion drag force tends to generate a cold anticlockwise circulation with upward vertical motion in the dawn sector. For positive IMF-$\overline{B}_z$ it tends to generate a warm clockwise circulation with downward vertical motion in the dawn sector.

• (The) Research of the performance art and culture
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• no.18
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• pp.413-444
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• 2009

This paper is an analysis of stage and performance elements for the ceremonial procedures and dance featured in bongsudang-jinchan, a feast celebrating the 60th birthday of Hyegyeong-gung Hongssi (Crown Princess Hong of Hyegyeonggung), the mother of King Jeongjo, which took place in Hwaseong haegung palace in 1795. The primary sources used are data on bongsudangjinchan recorded in Wonhaeng-eulmyojeongriuigwe, Jeongjo-sillok, Hongjae-jeonseo, pictorial sources such as Folding Screens of Hwaseong-neunghaeng and Hwaseong Ilgi, which is a journal in Korean by Yi Hui-pyeong. A court ceremony to offer music, dance, flowers, and food, as well as wine and poetry which express the sentiments of chung (fidelity) and hyo (filial piety) was considered a national ceremony and has constituted a unique musical culture during the 500 years of Joseon dynasty. However, after the fall of Joseon dynasty, ceremonial music and dance, which have been organically linked within the overall symbolic system of ye (courtesy), became scattered to become independent 'pieces.' As a result, all of their philosophy, principles, and the time-space interpretation of court music and dance became greatly reduced, leaving only the artistic expression and formal structure of the music and dance to become emphasized. Since the 1990s, there has been many research and events aiming to re-create the court ceremonial tradition, resulting in the increase of the related performance activities. This is especially true with bongsudang-jinchan, which is now being performed on modern stage in various forms. However there are still many problems to be solved, such as the issue of re-creating and restoring the original, and the question of artistic value found in the traditional pieces. Until now, much focus has been paid to the outer re-construction of uiju document as recorded in Wonhaeng-eulmyo-jeongriuigwe. On the other hand, there lacked an in-depth study which analyzes the stage situation and performance elements. Therefore in this paper, after focusing on the stage structure and performance elements, it is concluded that bongsudang-jinchan, the only court feast to be held in Haeng gung, not only consists of the fundamental aspects of court performance principle as 'governing through ye and ak (music),' but also served as an important occasion to bring together the sovereign and the subject. Bongsudang-jinchan had features of both naeyeon (feast for ladies) and oeyeon (feast for gentlemen). It minimized the use of screens and allowed every guest to enjoy food, music, and dance together, but provided a separate tent for foreign guests, maintaining the ideal balance between equality and distinction among different gender and social status. A screen symbolizing the venue for the feast is placed for all of the government officials. The king then pronounces the beginning of the banquet in which the ideal of gunsin-dongyeon (king and officials dining together) is realized. This indicates that bongsudang-jinchan, compared to other court ceremonies that emphasize the principle of yeak (courtesy and music), focuses more on the spirit of harmony and rapprochement. The king played a more active role in bongsudang-jinchan than in any other royal feasts. Examples as recorded in uiju documents are; Jeongjo's conversation with his retainers after the 7th wine, king's bestowing of food and flowers to the officials, writing his own majesty's poems with regard to the festival, and asking the retainers to write replying poems. All these played an important part in making the occasion more rich, extensive, and meaningful. Moreover, as analysis of the structure of orchestral music and court dance featured in bongsudang-jinchan shows, it was like any other court banquet in that it employed minimal use of extravagance in movements and conversation. However, the colors and tonal texture used in the music and dance were more brilliant in this case. Compared to other banquets that took place before king Jeongjo, the dance style was more diverse, which included some of the latest additions. There were past performances arranged anew. Noteworthy are; the incorporation of "Seonyurak (Boat Dance)" and "Geommu (Sword Dance)," traditionally used for local officials and civilians feast, to suit the court taste; and the use of saenghwang (mouth organ), which was a rising instrument in pungnyubang (literati's private salon), for "Hakmu (Cranes Dance)." This especially indicates the nature of the 'open structure' pursued by the court banquets at the time, which strove to break away from the traditional rules and customs and accept something new.