• Korean Journal of Environmental Agriculture
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• v.36 no.4
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• pp.293-298
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• 2017

BACKGROUND: Pyrethroids (PYRs) are a widely used insecticide in agriculture and household area. In mammals, PYRs such as deltamethrin is metabolized to 3-phenoxybenzoic acid (3-PBA) in liver that is mainly excreted in urine. This study is designed to single exposure of deltamethrin to rats in a dose-dependent manner and identify the correlation between deltamethrin exposure and its metabolite (3-PBA) in urine. METHODS AND RESULTS: Exposure levels of deltamethrin were control (0 mg/kg bw), low (0.0705 mg/kg bw), medium (0.705 mg/kg bw) and high (7.05 mg/kg bw) dose. Low concentration was derived by ussing Korea predictive operator exposure model (KoPOEM). Dermal exposure persisted for 6 h, and urine specimens were collected for 24 h. The urine matrix was removed after a series of procedures and 3-PBA was analyzed by gas chromatography/mass spectrometry. CONCLUSION: There was a strong correlation ($R^2=0.83$) between the amount of oral exposure to delta me thrin and urinary levelof3-PBAexcreted. In dermal exposure groups of deltamethrin except high-dose, also there was a good correlation between urinary 3-PBA and deltamethrin exposure, but not stronger than in oral deltamethrin exposure groups. Based on these results, therefore, the amount of 3-PBA in urine can be used as a good monitoring indicator that reflexing the exposure level of deltamethrin to human body.

• Sijohaknonchong
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• v.30
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• pp.91-107
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• 2009

This study is to examine how Sijo is being accommodated to modern Gagok by comparing them. In details, the work is about comparison between three verses in Sijo and twofold grouping in modern Gogok, JoongYuUm in traditional Gagok, YuBak in Sijo, the interlude, ADanSungJang, and changing verses in modern Gagok. First point is about three verses in Sijo and a rhythm of twofold grouping in modern Gagok. In particular, modern Gagok is treated as a group of twofold leaving three verses of Sijo. The way is chosen that whether it sets on an interlude into a song or the third part of three verses in Sijo is extended to avoid its logic of music and poem. Second, the discussion moves points on between an interlude in traditional Gagok and in Sijo. In the process of grouping twofold in modern Gagok, the parts which are interludes of both in traditional Gagok and in Sijo, combined with the interlude of the modern Gagok. It shows that the modern Gagok is affected on both the traditional Gagok and the Sijo. In addition, it explains elements of ADanSungJang - - tones and sounds in the modern Gagok. Originally, the traditional Gagok and sijo are composed of tones and sounds. At this point, tones are short, whereas sounds should be longer. This kind of way in the song has appeared on the modern Gagok of Hong, Nan-Pa. Lastly, the factors is about changing verses of modern Gagok. The one of differences between the modern Sijo and traditional Sijo is verses. For example, when it comes to sijo by Lee, Eun-Sang, he used to create his sijo with three verses. Hence, he did not change verses on his works. Whereas, the modern song "The Spring Lady" by Hong, Nan-Pa has shown the phenomenon that is separating three verses into six verses. It is noticeable that this phenomenon in "The Spring Lady" has the same bases with the modern Sijo.

• The Korean Journal of Pesticide Science
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• v.15 no.4
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• pp.507-528
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• 2011

Agricultural workers who mix/loads and spray pesticide in fields expose to pesticide through dermal and inhalation routes. In such situation, exposed amount should be measured quantitatively for reasonable risk assessment. Patch, gloves, socks and mask will be good materials for monitoring for dermal exposure while personal air monitor equipped with solid adsorbent and air pump will be a tool for inhalation exposure. For extrapolation of absorbed amount in dermal exposure matrices and of trapped amount in solid sorbent to total deraml or inhalation exposure, Korean standard body surface area and respiration rate were proposed in substitution of EPA data. Important exposure factors such as clothing and skin penetration ratio of dermal and inhalation exposure were suggested based on Spraying time for exposure monitoring must be long enough that the amount of pesticide to get absorbed/trapped in exposure matrices results in reasonable analytical value. In domestic case for the both of speed sprayer and power spray machine, spraying time of 20~40 minutes (0.1~0.2 ha) will be reasonable per single replicate before extrapolating to 4 hours a day with triplicates experiment.

• Journal of the Korean Institute of Landscape Architecture
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• v.39 no.2
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• pp.73-90
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• 2011

The purpose of this research was to find out the characteristics of secluded cultural landscapes that were retained by Eyogye Cho Lyeo(漁溪 趙旅) as a recluse or a schola at the early time of Chosun dynasty through his poems, residential site and his successors' landscapes. The study sites were selected such as Wonbukgae(院北齋), Chamijeong(採薇亭), Gomaam (叩馬巖) and his graveyard. In order to do that, Wonbukgae, Chamijeong, Gomaam and his cemetery were selected as studying sites. Also researching methods were used by grasping the landscape elements through reading ancient books such as "Eyogyezip(漁溪集)", field-researching, analyzing characters of his secluded landscapes and interpreting his poem's meaning. This research found that: 1) After Danjong(端宗)'s dethronement, he returned to his home town and never come out to the world again. He wanted to keep fidelity to his king forever. 2) He was affected for his seclusion from many people who were Ryu Gyebun(柳桂芬), Bae Junghu(裵仲厚) as his classmates at Sunggyungwan(成均館). Also Won ho(元昊) and Kim Sisyub(金時習) as members of Sangyuksin(生六臣) affected him for sake of their seclusion. 3) The meaning of his seclusion expressed the notation of seclusion as a fisherman from his pen name as 'Yeogye'. Also this kind culture has very particular behavior such as concentration phenomenon of action, absolute eccentricity of seclusion, tourism of nature and deep knoledge of feng shui, strong persistence of seclusion and confucian practical attitude of filial behavior. 4) The secluded cultural landscape is divided to four regions. They have two types of landscape such as secluded cultural landscape of his lifetime and landscape transmission of his posterity and scholars. 5) The interpretation of his poems and their aesthetic analysis found two characters. His poems were expressed by landscape substance like plants, natural and man-made elements. Their theme was confucian, peaceful and faithful seclusion.

• Sijohaknonchong
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• v.42
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• pp.93-115
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• 2015

Dynamics of Sijo was regarded as a genre of 'closed nature' once. But ironically thanks to the 'closed nature', today dynamics of Sijo is refocused in diverse fields. Sijo is quoted not only in its original field of literature, but also in writing study. Quite remarkably, it is often referred to in the field of literary therapy, further in emotional healing. This article discussed the dynamics of Sijo as a manifestation of emotion especially called Gamsung in the process of the refocus. It is to show effectively that as a literary genre, Sijo can interact and share what is reasonal as well as what is emotional and sentimental in a poem as an emotional container beyond the lyricism Sijo has. Of course, it is also clear that the concept of lyricism may limit the dynamics of Sijo itself. Thus, the key word 'Gamsung' mainly referred to in this article was used to show the dynamics which Sijo has as much as possible, overcoming the limitation. That is, the purpose of the study is to prove that Sijo is the genre to represent human emotion most dynamically by reviewing the reasonal aspect of Sijo in addition to its emotional disposition which has been estimated to focus on sentiment or emotion. In the process of reinterpreting the structure of Sijo, the specific analysis on such emotional disposition and reasonal aspect was conducted by structurizing that as '(1) Facing, (2) Feeling dynamical, (3) Interpellating by feeling, and (4) feeling by sensation'.

• Sijohaknonchong
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• v.43
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• pp.123-148
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• 2015

Kim Deuk-yeon(金得硏), who lived at the age of Chosun Dynasty, was the person who kept the parents's will of not serving as a government officias even though he had the ability of serving those positions. He made his composition at the Jisujeong(止水亭), a kind of pavilion which he had built, and the Sijo(時調) Sanjungjapgok(山中雜曲) is one of those compositions. This sugggestes that Sanjungjapgok has a close relation with the Jisujeong(止水亭) which he opreated on his own. So the purpose of this study is focused on analyzing the Sanjungjapgok based on his goal of operating the Jisujeong. The middle age of Chosun dynasty was the era when the pavilion had been prevail even to the average aristocrats who stayed just in local area. Kim Deuk-yeon seems to have had a great endeavor of operating his own pavilion; he had prepared to build Jisujeong for about 30 years. This resulted in his affection of the Jisujeong, which caused him to spend the last part of his life there. Sanjungjapgok consists of 49 pieces of peom and seems to have been written after compositing Jisujeongga(止水亭歌). Even though it has the same title, it doesn't have lots of relations for us to regard this as a Yeonsijo(聯詩調). But this also has the properties of Yeonsijo, whoch contatins 14 Yeonjaksijo(聯作時調) composed of Yeonsijo which has 2 to six lines. The subject of the Sanjungjapgok can be classified as a four major parts: appreciating the nature, study, gathering to make the poem, and taking a rest while satisfied with his own situation. These four properties reflect the function of the private pavilion. In the light of these four properties, I noticed that there were some contents dealing with the private pavilion. Given his social status, I was able to confirm that he had the considerable satisfaction with his life of operating the private pavilion, which was reflected by the Sanjungjapgok.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.2
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• pp.35-44
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• 2016

This study targets flower-viewing sites appearing in "Kyungdojapji" and talks about the seasonal customs and tourist attractions of the later Chosun; Pilundae, Bukdun, Outside of Dongdaemun, Cheonyunjeong and near Seodaemun etc. Through related poetry, paintings and maps, it looks into what scenic elements each attraction was made of and how the elements were felt by visitors. It sub-divided and analyzed scenic features into objective objects, subjective emotions and experienced behaviors. As a result, representative objective objects were flowers and there were also scenes where people enjoyed poem-writing meetings along with drinking-related physical elements such as liquor, liquor glasses, liquor bottles etc. Through drawing out scenes, where users gave meaning to objective objects, it tried to interpret what space meant to them, through which the meaning of flower-viewing attractions is first and foremost a space to enjoy artistic taste. Each space is used as the center of cultural creation such as literary people gathering, viewing flowers, drinking and having poetry-writing meetings. Second, as shown in scenes viewers depicted in each space, visitors were confirmed to enjoy scenes through multi-sensory appreciation. By this, flower-viewing attractions were confirmed to be not just flower-viewing but also venues of sensory experience. This study, which drew out the scenic features of traditional flower-viewing attractions, is expected to be basic material in tracing the flower-viewing enjoyed by our ancestors as a pastime and its spatial meaning and in planning Korea-unique flower-viewing attractions.

• (The)Study of the Eastern Classic
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• no.63
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• pp.83-113
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• 2016

This paper is focused on objective and meaning of its compilation through reviewing system, composition, method of description, and content of "Jwagyebudam". "Jwagyebudam" has all round form of a history and character book by recording via arranging figures from the end of 16th century to the middle of 18th century in a chronological order. Figure were not only assigned at close range by steretyping people into groups to a degree in it, but also recorded in a chronological order. In view of method of description, "Jwagyebudam" concentrated a theme by recording via separating different people associated from a figure and content of the same event by using the same method like 'Hogeonbeom(互見法)' shown in "Sagiyeoljeon(史記列傳)". In addition, it obtained effect to objectify evaluation of figures included. In a method of embodying figures, it has described concretely and in a three dimensions figures by recording anecdotes and poems associated with them via focusing on lifelong characteristic aspect of corresponding figures. In other words, "Jwagyebudam" can be called by biographies or character books, writings specialized in characters center among writings of method to weave freely experience. In a broad sense, it can be called a writing to cover a function of history book, poem and picture. This was located to a starting point of variation of inclusive and descriptive method. Namely, several kinds of writings in late Joseon dynasty can show aspect to fulfill specialized aspect gradually.

• Journal of Korean Philosophical Society
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• v.105
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• pp.373-400
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• 2008

This essay is an analysis on Daoist deconstructivism and Confucian constructivism about music and language. (1) Daoist criticizes that the Confucian constructive music and language fail to describe original sounds and original facts of doing nothing (wuwei, 無爲). According to Daoist, music and language can be an instrument to describe true facts in the world. So Daoists try to attain a state of 'seeing things as things themselves (yiwuguanwu, 以物觀物)' by 'forgetting oneself (wangwo, 忘我).' (2) However Confucian music and language is a part of one's life. Confucians try to get truth, goodness, and beauty by exercising one's music and language. Confucian music is associated with political and moral development in society. The Confucian genres of poetry (shi, 詩), appealing letter (shu, 疏), declaring writing (biao, 表), record (ji, 記), and written words (ci, 詞) are processes of developing one's life. Further, Confucian rhetoric of 'Xing (興)' in writing poem shows that one's language can be developed in contexts of one's life. (3) Although music and language is associated with human subjective narratives as if Confucians say, diverse narratives of different subjectivity cannot appear in one's lives if all kinds of narrative is absorbed in Confucian absolute ideological slogan to devide things into good and bad. Accordingly, the Confucian view of music and language can develop diverse narratives when it does not show an inclination toward moral dichotomy preunderstood by Confucian ideology.

• Sijohaknonchong
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• v.24
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• pp.259-278
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• 2006

In this study, I've researched the sijo written by Yukdang, Choi, Nam Sun, and Manhae. Han, Yong Woon who were the leading intellectual and the pioneers experiencing the time of flowering and the colonial period. Their lives had the common things in various way. They were involved in Independence movement as the intellectual at that time. They also showed the various activities such as modern poem. sijo, and even Chinese poetry. In this thesis, 1 compared their sijo and considered them. Especially, I've researched the two divided parts focused on the tone shown in the sin one part was focused on the 'lover', and the other was on the 'life'. The summarise which I've researched is as followings. First, I've researched the sijo focused on the 'lover' They have the common things in having the presupposition of farewell to their 'lover'. But there were significant differences as followings. In the case of Yukdang, he expressed the passive tone based upon the despondency and the loss with the absence of his lover. Meanwhile, Manhae tended to reveal the resigned and negative tone based to his lyrical world. The contrasted tone in their poems is considered to have something to do with their realistic matters. There should also be several things to be discussed in the future.