• Korean Journal of Veterinary Research
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• v.17 no.1
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• pp.17-26
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• 1977

Parasites of wild animals are closely related with parasites of domestic animals. Wild animals take charge of an important role at parasitic infestation of domestic animals because of unrestrained movement. The authors carried out the work of actual condition of parasitic infestation on wild animals, total 1,014 cases, in the Korean Zoo. The results are summarized as follows: 1. Total rate of parasitic infestation was 36.1% with infestation of 366 among 1,014 cases. The rate of single infestation was 32.6% with infestation of 331 cases, double infestation 3.1% with 31 cases, triple infestation 0.2% with 2 cases and quadrople infestation 0.2% with 2 cases. 2. The parasites on the zoo animals were identified as follows: Lion: Sarcoptiform, Toxocara sp., Toxascaris leonina, Ancylostoma sp. and Isospora spp. Puma: Toxocara sp., Ancylostoma sp. and Isospora sp. Leopard: Toxocara spp., Ancylostoma sp., Trichuris sp., Dibothriocephalus sp. and Physaloptera sp. Wolf: Sarcoptiform and Dibothriocephalus spp. Fox: Trichuris sp., Capillaria aerophila, Spirocerca sp., Paragonimas kellicotti. Jackal: Sarcoptiform, Ascaris sp. and Echinococcus granulosus. Wild Cat: Dibothriocephalus sp. Tiger: Toxascaris leonina. Bear: Sarcoptiform, Metastrongylus apri, Ancylostoma sp. and Ascaris sp. Raccoon and Raccoon dog: Sarcoptiform, Paragonimus kelliotti, and Isospora sp. Boar: Oesophagostomum spp. and Eimeria spp. Mortkey: Sarcoptiform, Trichuris sp., Physaloptera spp.. Enterobius sp. and Isospora sp. Elephant: Sarcoptiform, Strongyloides sp. and Strongylus spp. Deer: Sarcoptiform, Strongyloides sp., Trichuris ovis, Mccistocirrus digitatus, Haemonchus sp., Oesophagostomum radiatum, Paramphistornum spp., Bunostomum phlebotomum, Fasciola hepatica and Eimeria spp. Bison: Sarcoptiform, Haernonchus sp., Marshallagia sp., Nematodirus sp. and Eimeria sp. Zebra: Strongylus sp. and Parascaris equorum. Goral and Barbary: Sarcoptiform, Haemonchus sp., Oesophagostomum venulosum, Moniezia sp. and Eimeria spp. Lama: Strongyloides sp. and Haemonchus sp. Kangaroo: Strongyloides sp. and Haemonchus sp. Camel: Strongyloides sp., Trichuris ovis and Eimeria sp. Peacock and the Other Birds: Sarcoptiform, Capillaria contorta, Capillaria caudinflata, Ascaridia spp., Heterakis spp., Hymenolepis sp., Eimeria spp., Histomonas, Ornithionyssus bacoti, Macrochelidae and Trichomonas. 3. Among the zoo animals, wild carnivora were infestated with the parasites which are common parasites of dogs and cats, wild herbivora were infestated with the parasites of herbivora domestic animals. and wild fowls were infestated with the parasites of domestic fowls.

• Economic and Environmental Geology
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• v.12 no.3
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• pp.115-126
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• 1979

The Jecheon granite mass has turtle-shape exposure of about $190km^2$ at vicinity of Jecheon-eup, and is elongated in the direction of NEE-SWW. It discordantly intrudes the Bakdalryong metamorphic rocks and the great limestone series(Samtaesan and Hungwolri formation) which belong to the pre-Cambrian and Ordovician, respectively. The mass is composed of five facies of different grain size; texture and charecteristic minerals. The five facies are (1) coarse grained biotite granodiorite, (2) fine grained hornblende biotite granodiorite, (3) coarse grained pink feldspar granodiorite (4) leucogranite, and (5) porphyritic biotite granite. The mutual relationship between each facies is intrusion in (1)-(2) and (2)-(3), but unknown in (3)-(4) and (4)-(5). 22 modal analyses and and 10 chemical analyses on more than a hundred of representative samples taken from the mass are listed as tables. Triangular plot of modal and normative Q-Kf-Pl of this mass show a continuous differentiation products from certain common magma by change of chemical composition and anorthite contents in plagioclase. The metamorphic facies of contact aureole in surrounding rocks adjacent to the granite body are corresponded to hornblende hornfels facies with mineral assemblages of wollastonite-diopside-calcite in calcareous rocks, and of quartz-biotite-muscovite-cordierite in argillaceous rocks. Variation of silica versus oxides of major elements shows that the mass is similar to the trend of Daly's average basalt-andesite-dacite-rhyolite which shows the trend of the fractional crystallization of magma, and is equivalent to the calc-alkali rock series by Peacock. AMF diagram shows that Jecheon granite mass is equivalent to normal diffentiation products such as skaergaard intrusion. The above evidences suggest that the Jecohon granite mass is normal differentiation products formed by fractional crystallization under relatively slow cooling condition.

• Economic and Environmental Geology
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• v.7 no.3
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• pp.123-152
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• 1974

The study focused to the so called "Yangpyeong Igneous Complex" which intruded into the Gyeong Gi gneiss complex of Pre-cambrian basement of Yangpyeong area. The geologic sequence of the mapped area was shown in table 1. In laboratory work, 31 modal analyses and 7 chemical analyses on the rock samples taken from the igneous complex have been made to discuss the nomenclature of the rocks and the petrological relationship between rock types. The petrographical and petrochemical features based on the analyses are as follow; 1) The classification of this rocks based on the systematics of igneous rocks of IUGS showed that Yangpyeong Igneous complex consist of hornblende gabbro, diorite and porphyritic monzonite. The major rock forming minerals in hornblende gabbro are hornblende and plagiodase ($An_{46{\sim}55}$), in diorite, hornblende, biotite and plagioclase ($An_{23{\sim}33}$) and in porphyritic monzonite, K-feldspar, plagioclase ($An_{21{\sim}35}$), hornblende and biotite. Hornblende gabbro and diorite show coarse to medium grained hypidiomorphic granular texture and porphyritic monzonite was named by the characteristically porphyritic texture of K-feldspar phenocrysts. 2) Silica-oxides variation diagram (Fig.4) illustrate that the igneous complex is similar ttl that of Daly's average basalt-andesite-dacite-rhyolite and equivalent to the calc-alkalic rock series of Peacock's rock series. In AMF diagram (Fig. 5), the trend of the igneous complex is nearly pararell to that of the Skaergaard intrusion which shows the trend of the fractional crystalization of magma. 3) In normative Or-Ab-An diagram (Fig. 6) the general trend of the data points from gabbro to porphyritic monzonite of the igneous complex directs to a point of Or/Ab=1:1 on the side of Or-Ab. The field and laboratory evidences suggested that the Yangpyeong igneous complex was thought to be a series of comagmatic differential products.

• The Korean Journal of Rehabilitation Nursing
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• v.9 no.1
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• pp.5-14
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• 2006

Purpose: This research was conducted to explore the relationship between spiritual well being and life attitude among breast cancer patients who were operated, and to increase understanding for wholistic nursing care. Method: With spiritual well being from quality of life questionnaire in breast cancer survivors (QOL-BR 23) of Ferrell et al (1998) and Life attitude profile (LAP) of Recker & Peacock (1981), the data were collected by research assistant in a sample of 56 women with stage 1-stage 3 breast cancer at surgery OPD after follow-up care. Result: Mean spiritual wellbeing score of subject was 5.83 (0-10) and life attitude was 4.96 (1-7). There were significant differences in life attitude according to monthly income (F=3.22, p=.03), and in spiritual wellbeing according to monthly income (F=4.16, p=.01) and religion (t=-3.67, p=.001) among demographic characteristics. There was significant difference in spiritual wellbeing according to the period passed after operation (F=2.89, p=.04) among disease characteristics. From life attitude domain, the mean score of "will to meaning" was the highest (5.30) and "existential vacuum" was the lowest (4.58). There was a significant relationship between spiritual wellbeing and "will to meaning" subscale of life attitude (r=.521, p=.000). The correlation coefficient showed r= .513 between spiritual well being and life attitude. Conclusion: Nurses could promote positive life attitude for breast cancer patients by improving spiritual well being with the encouragement of having religion expecially for long term breast cancer survivors in the process of their rehabilitation.

• Geotechnical Engineering
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• v.14 no.1
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• pp.59-70
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• 1998

Samples of silty sands and hydraulic fill ground were investigated by dynamic triaxial teats in order to evaluate the liquefaction strengths. In the tests, (1) undisturbed and disturbed samples were prepared, (2) dynamic shear strengths were measured under isotropic and anisotropic condition, and (3) the test results were compared with the other results which were tested by domestic and foreign researchers. The liquefaction shear strengths under ismtropic test condition were presented in terms of the relative densities. The amount of silt under 30o hardly influenced on the liquefaction strength. In the test results of anisotropically consolidated samples the liquefaction strength was dependent on the magnitude of the effective consolidation ratio. These teat results show that the liquefaction strength of the silty sand in Korea went coast exists within the boundary of the values suggested by Seed and Peacock(1971).

• Journal of Digital Convergence
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• v.19 no.1
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• pp.373-378
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• 2021

This study is a study on user experience design of Meal Kit product information. The purpose of this study is to derive the product information necessary for the purchaser and the necessity for the convenience of use, and to propose an improvement plan. When purchasing Meal Kit products, two types of domestic Meal Kit brands, Peacock and Fresheasy, were compared and analyzed for information on nutrition intake, package design, and environmental issues. As a research method, a questionnaire survey was conducted by deriving 7 factors for purchasing Meal Kit products through literature research and prior research. Proceeded. As a result of the study, the factors that satisfy buyers were in the order of cooking process, food, taste/nutrition, package, convenience, price, and information, and overpacking was also revealed as a problem. Through this, it was possible to derive improvements and develop plans for the Meal Kit product. It is expected that this study will help improve the dietary life of One person households and develop Meal Kit products in the future.

• Journal of Fashion Business
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• v.25 no.1
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• pp.51-64
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• 2021

The purpose of this study was to develop smart bags that combining fashion-specific trends and smart information technologies such as light-emitting diodes(LED) and optic fibers by grafting marquage techniques that have recently become popular as part of eco-fashion. We applied e-textiles by designing leather tote bags that could show off LED luminescence. A total of two tote bags, a white-colored peacock design and a black-colored paisley design, divided the LED's light-emitting method into two types, incremental lighting and random light-emission to suit each design, and the locations of the optical fibers were also reversed depending upon the design. The production of circuits for the LEDs and optical fibers was based on the design, and a flexible conductive fabric was laser-cut instead of wire line and attached to the circuit-line location. A separate connector was underwent three-dimensional(3D)-modeling and was connected to high-luminosity LEDs and optic fiber bundles. The optical fiber logo part expressed a subtle image using a white-colored LED, which did not offset the LED's sharp luminous effects, suggesting that using LEDs with fiber optics allowed for the expression of each in harmony without being heterogeneous. Overall, the LEDs and fiber optic fabric were well-harmonized in the fashion bag using marquage techniques, and there was no sense of it being a mechanical device. Also, the circuit part was made of conductive fabric, which is an e-textile product that feels the same as a thin, flexible fabric. The study confirmed that the bag was developed as a smart wearable product that could be used in everyday life.

• Journal of the Korean Society of Costume
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• v.4
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• pp.39-59
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• 1981

This article briefly researched the Picture of Welcoming the Governor of Pyongan Province painted by Kim Hong-do, penname Danwon(1745-1818?). The Picture was composed of three parts and its historical and pictorial back-ground were reviewed firstly. And later the dress and its ornament appearing on the Picture were studied. In the historical viewpoint of dress and its ornament, the Picture shown all sorts of dress from lower class maids and servants to higher officials-dignatories and governor, and dealt with nearly all dresses. In order to support and to make better understand the dresses of that age, some Korean literary works of the same period depicting the dress and its ornament were also selected. This article dealt with the dress and its ornament. especially that of 18th century of the Yi Dynasty, and comparatively studied for our folk painting with literary works. Also the picture enabled to make this study was an important data of our old dress and its ornament. This painting was considered as one of our cultural treasures. Several conclusions drawn out from this study as followings: 1) In male and female dress of lower class people; male dress was consist of trouser and coat, and coat, and over the coat SOCHANGYI were used. Female dress was basically consist of skirt and these were white color of their favourite. Mainly simple color was used for clothing and its dress style were CHAKSOO-HYONG (narrow sleeve style) which convenient for a work. 2) Yangban's dress was consist of trouser, coat and over the coat, usually DOPO(over-coat) were used and some case JICKRYONGPO (a sort of over-coat) or CHANGYI were also used. These were GWANGSOO-HYONG (wide sleeve style) of inconvenient for a work. 3) In head-gear, there was no difference of the higher and the lower. They usually used HEUC-KRIP (black Korean hat). The OCKJUNGJA, GONJAKMI (peacock tail), HOSOO (tiger beard), and YOUNGJA (chin strip) were used according to officials ranks as head-gear's oraments. 4) Local petty officials used ordinary dress and CHUPRI (warn-dress) were also used by them, and military officials used war-dress of tight sleeve. 5) The belting of over-coat are different in color according to official grade. The higher grade wore red-wide belt, but generally black narrow belt for ordinary officials. 6) All KISAING girl wore SAMHYEOIJANG upper coat. And their head ornament were black KARIMA for grown KISAING. SAYANG hair for DONGKI or maiden KISAING and BINYEO (an ornamental rod of women's hair) were inserted into the hair of rear down part of head. The water carring maid wore BANHYEOIJANG upper coat and no KARIMA were on head and their coat were gloomy color. Above mentioned are several conclusions, and there migh be a false or erroneous explanations of 18th century dress and its ornament, however I considered they were data for blank period of quite unknown.

• Journal of Fashion Business
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• v.5 no.4
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• pp.127-143
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• 2001

This thesis looks into the characteristics and compares the clothing styles between the Three Kingdom to the Unified Shilla era. The purpose of this study is to see what common themes exists between the foundation of Korean clothing and how it has evolved and through see to what extent the Chinese influence has been to Korean clothing culture. Also by explaining the originality and creativity of Korean clothing, we will be able to make clear the status of Korean culture. These findings include the following; 1. The Korean strait line Gik-ryong Kyo-im can also be found at the Gochang region in the west. 2. The Ban-ryong-ui, worn by the aristocrats of the Three kingdom and Unified Shilla era, began to appear from the nobles from the Nam-Buk cho(South-north era). This combined with a Bokdu(headwear) became a part of casual dress wear. 3. Go(pants) became a traditional part of clothing for Unified Shilla and the west. 4. Ban-bi and Bae-dang, all forms of Bansu-ui ( short sleeve), came from Chinas Kucha and Hotan and came to Korea. 5. Chinas Pae-baek and Pae-za (Shawl) which is the same as Unified Shillas Peo was also to be found to have come from the west. 6. The way a different color line was added to clothing both can be found in Korean and western clothing. Similarities to material used are; First, expensive wool was used and mostly originated from the west. From far away Rome came the O-saek-gae (Five-color wool). Secondly, Kong-gak me (peacock feather) and Bi-chi mo were all originated from the west. Third, Sil-sil is stated in the Sam-kuk Sa-ki (Three Kingdom records) as being prohibited to be worn by Jin-gol women (Highest nobility during Shilla era) as headwear or comb (pin) or as a comb(pin) for yuk-doo poom ( 6th class nobility) women. Suggesting that it existed and other sources tell us that it came from Tashkent region of Russia and was a jewelry of some sort. From what we have seen above, we can see the similarities between Korean and western clothing cultures and that these interactions not only occurred with China but with many other nations. We can see that our ancestors were creative and original that when importing foreign cultures that they transformed them into a Korean style. That these foreign cultures were transformed into our own style is good evidence to these facts.

• Journal of Science of Art and Design
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• v.10
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• pp.183-218
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• 2006

Colors change in time corresponding with the value system and aesthetic consciousness of the time. The roles that colors play in painting can be divided into the formative role based on the contrast and harmony of color planes and the aesthetic role expressed by colors to represent the objects. The aesthetic consciousness of the orient starts with the Civility(禮) and Pleasure(樂), which is closely related with restrained or tempered human feelings. In the art world of the orient including poem, painting, and music, what are seen and felt from the objects are not represented in all. Added by the sentiment laid background, the beauty of the orient emphasizes the beauty of restraint and temperance, which has long been the essential aesthetic emotion of the orient. From the very inception of oriental painting, colors had become a symbolic system in which the five colors associated with the philosophy of Yin and Yang and Five Forces were symbolically connected with the four sacred animals of Red Peacock, Black Turtle, Blue Dragon, and White Tiger. In this color system the use of colors was not free from ideological matters, and was further constrained by the limited color production and distribution. Therefore, development in color expression seemed to have been very much limited because of the unavailability and unreadiness of various colors. Studies into the flow in oriental painting show that color expression in oriental painting have changed from symbolic color expression to poetic expression, and then to emotional color expression as the mode of painting changes in time. As oriental painting transformed from the art of religious or ceremonial purpose to one of appreciation, the mast visible change in color expression is the one of realism(simulation). Rooted on the naturalistic color expression of the orient where the fundamental properties of objects were considered mast critical, this realistic color expression depicts the genuine color properties that the objects posses, with many examples in the Flower & Bird Painting prior to the North Sung dynasty. This realistic expression of colors changed as poetic sentiments were fused with painting in later years of the North Sung dynasty, in which a conversion to light ink and light coloring in the use of ink and colors was witnessed, and subjective emotion was intervened and represented. This mode of color expression had established as free and creative coloring with vivid expression of individuality. The fusion of coloring and lyricism was borrowed from the trend in painting after the North Sung dynasty which was mentioned earlier, and from the trend in which painting was fused with poetic sentiments to express the emotion of artists, accompanied with such features as light coloring and compositional change. Here, the lyricism refers to the artist's subjective perspective of the world and expression of it in refined words with certain rhythm, the essence of which is the integration of the artist's ego and the world. The poetic ego projects the emotion and sentiment toward the external objects or assimilates them in order to express the emotion and sentiment of one's own ego in depth and most efficiently. This is closely related with the rationale behind the long-standing tradition of continuous representation of same objects in oriental painting from ancient times to contemporary days. According to the thoughts of the orient, nature was not just an object of expression, but recognized as a personified body, to which the artist projects his or her emotions. The result is the rebirth of meaning in painting, completely different from what the same objects previously represented. This process helps achieve the integration and unity between the objects and the ego. Therefore, this paper discussed the lyrical expression of colors in the works of the author, drawing upon the poetic expression method reflected in the traditional Flower and Bird Painting, one of the painting modes mainly depending on color expression. Based on the related discussion and analysis, it was possible to identify the deep thoughts and the distinctive expression methods of the orient and to address the significance to prioritize the issue of transmission and development of these precious traditions, which will constitute the main identity of the author's future work.