• Journal of Food Hygiene and Safety
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• v.36 no.5
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• pp.418-429
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• 2021

This paper investigates the antioxidant activity and quality characteristics of yanggaeng containing white ginseng and red ginseng extracts and their enzyme hydrolysates that were produced for the purpose of the study. White and red ginseng extracts were hydrolyzed using Rapidase C80 max, Pyr-flo, and Ultimase MFC. Ginsenoside F2 and compound K (CK) were not detected in white and red ginseng before enzymic reaction but were detected in white and red ginseng hydrolyzed through Rapidase C80 max, Pyr-flo, and Ultimase MFC, and the content of CK was the highest in the second enzymic reaction group of red ginseng. Upon preparing yanggaeng containing white and red ginseng before or after enzymatic hydrolysis, the polyphenol content and antioxidant abilities were analyzed. The yanggaeng containing enzyme-hydrolyzed white ginseng and red ginseng showed greater total polyphenol content, superior DPPH radical scavenging activity, superior ABTS radical scavenging activity, and superior FRAP analysis results compared to the yanggaeng that doesn't contain white or red ginseng. As the enzymic reaction was performed in the added white and red ginseng, the antioxidant activity increased significantly (P<0.05). In brightness(L^*), non-additive yanggaeng (control group) was the highest, red ginseng yanggaeng (RG) showed the highest redness(a^*), and the white ginseng yanggaeng (WG) showed the highest yellowness(b^*). In terms of texture, the yanggaeng containing red ginseng with second hydrolysis (RG-T2) showed significantly high results in hardness, springiness, chewiness, cohesiveness, and gumminess (P<0.05). In conclusion, treating white and red ginseng with Rapidase C80 max, Pyr-flo, and Ultimase MFC is very useful in ginsenoside deglycosylation and will produce CK with excellent biological activity. It can also be seen that yanggaeng containing white and red ginseng hydrolyzed with enzymes significantly increase total polyphenol and antioxidant activity compared to the control group (yanggaeng with no added ginseng). These results will be useful as excellent foundational data for the production of functional yanggaeng in the future.

• Journal of Applied Biological Chemistry
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• v.64 no.4
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• pp.439-446
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• 2021

A field-scale study was conducted to evaluate the effect of organic matter amendments on the solubility of arsenic (As) in paddy soil and uptake by rice. Six organic matter (rice bran, rice straw, pig/cattle/fowls manure compost and swine liquid manure) were added to two polluted soils with high As (53 mg kg^-1) and low As concentration (28 mg kg^-1), and changes in soil solution constituents was monitored. The mean As concentrations in soil solution from the high As soil with rice bran, pig manure compost and swine liquid manure addition were significantly higher (0.61-1.15 mg L^-1) than that of the control (0.42-0.66 mg L^-1). Regression between As and Fe in soil solution indicated that As was attributable to reductive dissolution of Fe (hydr)oxides and it was driven by organic matter addition. Mean As concentrations in brown rice from the high As soil were 0.35-0.46 mg kg^-1, above the maximum safety level of inorganic As (0.35 mg kg^-1), and tended to be higher in organic matter amended soils than that of the control. The significant correlation between grain As and soil solution As was not observed and it was probably attributable to As tolerance of rice causing the reduction of As uptake and/or translocation to grain. However, considering the significant As release in soil solution from the high As soil and the tendency of grain As elevation after organic matter addition, it is needed to be cautious for food safety when amending organic matter to paddy soil with high As concentration.

• Korean Journal of Remote Sensing
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• v.37 no.6_1
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• pp.1631-1645
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• 2021

This research aims to provide the characteristics of the world's first active lidar sensor Atmospheric Laser Doppler Instrument (ALADIN) wind data and Geostationary Korea Multi Purpose Satellite 2A (GK2A) Atmospheric Motion Vector (AMV) data by comparing two wind data. As a result of comparing the data from September 2019 to August 1, 2020, The total number of collocated data for the AMV (using IR channel) and Mie channel ALADIN data is 177,681 which gives the Root Mean Square Error (RMSE) of 3.73 m/s and the correlation coefficient is 0.98. For a more detailed analysis, Comparison result considering altitude and latitude, the Normalized Root Mean Squared Error (NRMSE) is 0.2-0.3 at most latitude bands. However, the upper and middle layers in the lower latitudes and the lower layer in the southern hemispheric are larger than 0.4 at specific latitudes. These results are the same for the water vapor channel and the visible channel regardless of the season, and the channel-specific and seasonal characteristics do not appear prominently. Furthermore, as a result of analyzing the distribution of clouds in the latitude band with a large difference between the two wind data, Cirrus or cumulus clouds, which can lower the accuracy of height assignment of AMV, are distributed more than at other latitude bands. Accordingly, it is suggested that ALADIN wind data in the southern hemisphere and low latitude band, where the error of the AMV is large, can have a positive effect on the numerical forecast model.

• (The) Research of the performance art and culture
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• no.36
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• pp.505-530
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• 2018

The purpose of this study is to examine the meaning of learning methods for education to transmit the items designated as intangible cultural heritages focusing on Seoul-gut. Recently, as the Act on the Preservation and Promotion of Intangible Cultural Heritages was promulgated, 'the archetype' instead of 'the prototype' has become highlighted as a crucial axis for transmission. Although there are some controversies over the definition of the archetype among scholars, it is now possible for transmitters to make use of transformations rather freely being freed from strict orientation to the prototype to follow some fixed frame. Examining learning methods used in education to transmit mudang-gut, one of the items designated as intangible cultural heritages, however, this author has found that the prototype is still emphasized or in the center of learning instead. Presenting learning methods employed for Hwanghaedopyeongsansonoreum-gut of a national intangible cultural heritage, Namijanggunsadang-gut of Seoul Special City's intangible cultural heritage, and Bonghwasandodang-gut as examples, this researcher intends to reveal the reality. In the recent situation that education centering around academies is being widely spread to transmit mudang-gut, setting forth the designation of some of the items as intangible cultural heritages, they are publishing articles on newspaper as an advertisement to encourage learning about mudang-gut. Responding to the advertisement, there are more and more shamans intending to learn mudang-gut coming to the society for preserving items designated as intangible cultural heritages. They can, of course, perform mudang-gut on their own but come to learn it as there is no fixed or definite system for it. Even though the concept of the archetype was introduced, as now it is possible to learn the fixed frame through learning about the prototype regarding the item of mudang-gut as an intangible cultural heritage, those involved in shamanism are coming to it more and more. As transmitting the prototype rather deteriorated the liveliness of gut, those involved in shamanism are coming to it to learn about gut thinking that it is where they can learn the basic frame and also acquire more detailed knowledge about shamanism. Therefore, it is needed for the item of mudang-gut designated as an intangible cultural heritage to accept the aspects of change and develop new methods of education to transmit intangible cultural heritages.

• Cross-Cultural Studies
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• v.48
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• pp.289-323
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• 2017

L'Espoir, a novel by Andre Malraux, contains traits of the genre of literacy reportage that depicts the full account of the Spanish Civil War as non-fiction based on his personal experience of participating in war; the novel has been dramatized into a semi-documentary film that corresponds to reportage literature. A semi-documentary film is the genre of film that pursues realistic illustration of social incidents or phenomenon. Despite difference in types of genre of the novel and the film L'Espoir, such creative activities deserve close relevance and considerable narrative connectivity. Therefore, $G{\acute{e}}rard$ Genette's narrative discourse of novel and film based on narrative theory carries value of research. Every kind of story, in a narrative message, has duplicate times in which story time and discourse time are different. This is because, in a narrative message, one event may occur before or later than another, told lengthily or concisely, and aroused once or repeatedly. Accordingly, analyzing differing timeliness of the actual event occurring and of recording that event is in terms of order, duration, and frequency. Since timeliness of order, duration, and frequency indicates dramatic pace that controls the passage of a story, it appears as an editorial notion in the novel and the film L'Espoir. It is an aesthetic discourse raising curiosity and shock, the correspondence of time in arranging, summarizing, deleting the story. In addition, Genette mentions notions of speech and voice to clearly distinguish position and focalization of a narrator or a speaker in text. The necessity to discriminate 'who speaks' and 'who sees' comes from difference in views of the narrator of text and the text. The matter of 'who speaks' is about who portrays narrator of the story. However, 'who sees' is related to from whose stance the story is being narrated. In the novel L'Espoir, change of focalization was ushered through zero focalization and internal focalization, and pertains to the multicamera in the film. Also, the frame story was commonly taken as metadiegetic type of voice in both film and novel of L'Espoir. In sum, narrative discourse in the novel and the film L'Espoir is the dimension of story communication among text, the narrator, and recipient.

• (The) Research of the performance art and culture
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• no.37
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• pp.5-31
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• 2018

The mask dance drama Goseong Ogwangdae's first act, Mundung Bukchum. The story is about a man who was born to the upper class but contracted leprosy, an incurable disease, due to his ancestors' accumulated sin. Although he is suffering, he is able to triumph over the disease through sinmyeong (catharsis) that is expressed through the wordless act of Mundung Bukchum. This thesis focuses on Goseong Ogwangdae's Mundung Bukchum, particularly the meaning, costume, accompanying music, and process of pedagogical transmission. The chronological characteristics of Goseong Ogwangdae's Mundung Bukchum are as follows. First, as time goes on, the number of dance motions in Mundung Bukchum has increased and the motions used have become reified. Second, I address the small barrel drum used in Mundung Bukchum and check how, through the drum, the changed expression of Mundung is shown.In a 1965 video introduced Mundung is grasping the drum and stick and the dance appears to be made up only of humorous motions. Also in a 1969 video, "Mundung Gwangdae," from the start Mundung is grasping the drum and stick. In 1988 in a video we can see the same scene as today, with the drum and stick sitting in the center of the stage at the start of the dance. We can also confirm that the same fourteen dance motions used today are present. Third, we can also confirm the changes in Goseong Ogwangdae's signature motion, baegimsae as time goes on. Observing the video from 1965, baegimsae does not appear in Mundung Bukchum. In 2000 we can clearly see the baegimsae performed once to the left and to the right while Mundung is squatting. Comparing 1969 to 1988, there is no symmetry in the motions, baegimsae is not done to both left and right, but only in one direction. Watching the record from 2000, the baegimsae motion is performed just as it is now, with the body thrown forward with a sharp push off the ground. Fourth I confirmed how the music used to accompany Goseong Ogwangdae's Mundung Bukchum has changed over time. In 1965 according to records of Mundung Bukchum's appearance, the dance was accompanied by the taryeong rhythmic pattern played on the usual four percussion instruments (barrel drum, hourglass drum, large gong, small gong). In the 1969 records of Mundung Bukchum the accompanying music is gutgeori rhythmic pattern performed on the usual four percussion instruments-an obvious difference. In 1988 the music with Mundung Bukchum is gutgeori rhythmic pattern transitioning into jajinmori rhythmic pattern. In 2000 the music with Mundung Bukchum includes the percussion instruments as well as taepyeongso (double reed oboe) playing gutgeori and jajinmori rhythmic patterns.

• Cross-Cultural Studies
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• v.50
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• pp.371-394
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• 2018

La estrella de Sevilla, is a representative masterpiece of the Golden Age of Spain, and is a tragic work of Lope de Vega, who was a representative drama writer living in the 17th century. However, regardless of its great literary value, there are insufficient researches on this drama even in Spain, due to several controversies surrounding the truth about Lope's creation. Here, this research concretely investigated the tragic characteristic of this drama, by largely dividing it into the viewpoint of Aristotle and Shakespeare. Thanks to the noble social status of the characters and proper dialogue of the hero Sancho Ortiz in trouble, there seems to be no problem in performing the cathartic function that Aristotle mentioned regarding the work in his review. However, there are a few problems in the aspect of the 'hero's free will to resist the absolute fate,' which is fundamentally the essence of the associated Aristotelian tragedy. Because, there's no Hamartia in this drama, the core mechanism that forms the absolute fate, makes the statement that accordingly, no absolute fate or irresistible force of destiny is established. Rather, the tragic characteristic of this drama can be more properly investigated from the viewpoint of Shakespeare. As noted differently from Aristotle, Shakespeare considered that the tragic characteristic came from the hero's characteristic. According to him, tragedy starts from the hero's value view and personality, instead of the external factors such as an absolute fate. Actually, Busto's death and separation between Sancho Ortiz and Estrella, two tragic affairs of La estrella de Sevilla, were caused by the crooked selfishness of King Sancho IV, who abused his authority, and Sancho Ortiz' excessively blind loyalty to the King, rather than the irresistible event. In conclusion, in light of a lethargic and hopeless situation, with no eventual choice of options before the injustice of absolute power, is must have been a significant tragedy for the audience, witnessing the play's tragic ending.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.447-484
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• 2012

This study aims to analyze the characteristics of post-epic theatre in the Belgian theatre director Jan Lauwers' trilogy titled in "Happy Face/Sad Face": (2004), (2006) and (2008). I regard that it played a very important junction for him to create his own theatrical style compared to earlier years. From this period, Lauwers has tried to create his original plays in order to concentrate the story of our era and has showed to combine a variety of media such as dance, installation, video, singing etc. In this context, I would like to study his own theatricality from the three perspectives of dramaturgy, directing and acting largely based on Hans-Thies Lehmann's theory of post-epic theatre, who pointed out the significance of Lauwer's theatrical leading role very early. First, from the dramaturgical point of view, we need to pay attention to the theme of translunary death; where the living and the dead coexist on the stage. In fact, death is the theme that Lauwers has been struggling to research for quite long time. In his trilogy, the dead never exits the stage. The dead, who is not a representative tragic character, even meddles the things among or with the living and provide comments to people. As a consequence, it happens to reduce a dramaturgical strong tension, leads depreciation of suspense and produces humanism in a way. This approach helps to create his unique comical theatrical atmosphere even though he deals with the contemporary tragic issues such as war, horror and death. Second, from the directing point of view, it is worth to take a look at the polyphonic strategy in terms to applying various media. Among all the things, the arts of dancing and singing in chorus are actively applied in Lauwer's trilogy. The dance is used in individual and microscopic way, on the other hand, singing shows collective and is a macroscopic quality. The dance is the representing media to show Lauwer's simultaneous microscopic mise-en-scene. While main plot takes place around the center-stage, actors perform a dance around the off-centered stage. Instead of exiting from the stage during the performance, the actors would continue dance -sometimes more like movements- around the off-centered stage. This not only describes the narrative, but also shows how each character is engaged to the main plot or incident, and how they look into it as a character. Its simultaneous microscopic mise-en-scene intends to function such as: showing a variety moments of lives, amplifying some moments or incidents, revealing character's emotion, creating illusionary theatrical atmosphere and so on. Meanwhile, singing simple lyrics and tunes are an example of the media to stimulate the audiences' catharsis. As the simple melody lingers in the audiences' mind, it ends up delivering a theatrical message or theme after the performance. This message would be transferred from the singing in chorus functions as a sort of leitmotive in order to make an impression to the audience. This not only richens their emotion but also creates an illusionary effect. Third, from the acting perspective, I'd like to point out the "detachment" aesthetic which Lehmann has pointed out. The actors never go deep into the drama by consistently doing recognize a theatrical illusion. The audience happens to pay attention to their presence through the actor's deliberate gesture, business, movement, rhythm, language, dance etc. The actors are against forming closed action by speaking in various languages or by revealing deliberately stage directions or acts, and by creating expressive mise-en-scene with multiple media. As a consequent, the stage can be transformed to not a metaphoric but a metonymic place. These actions are the ultimate intention for a direct effect to the audience. So to speak, Lauwers uses the anti-illusionary theatrical method: the scenes of fantastic death, interruption of singing and dance, speaking many kinds of languages, acting in detachment-status and so on. These strategies function to make cracks in spectators' desire who has a desire to construct a linear narrative. I'd like to say that it is the numerous potentiality to let the reality penetrate though and collide the reality with a fiction. By doing so, it induces for spectators to see the reality in the fiction. As Lehmann says, "when theatre presents itself as a sketch and not as a finished painting, the spectators are given the chance to feel their own presence, to reflect on it, and to contribute to the unfinished character themselves". In this sense the spectators can perform an objective criticism on our society and world in Lauwer's theatre because there are a number of gaps and cracks in his theatrical illusion where reality can penetrate. This is also the point that we can find out the artists' responsibility in this era of our being.

• The Korean Journal of Archival Studies
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• no.17
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• pp.157-202
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• 2008

Archival Objects are defined as objects having historical, aesthetic, and artistic value as well as archival value created and used with a particular purpose in business process. Increasingly, many countries including Canada, Australia, China are recognized the importance of Archival Objects and designated them as national records. In Korea, Archival Objects are involved in national records through '2006 Plan for the Archives and Records Management Reform'. So National Archives and Records Service provided a foothold for comprehensive plan of national records management including Archival Objects. And also, by revising Records and Archives Management Act in 2007, National Archives and Records Service declared aggressive will to management Archival Objects. Until now, Objects held in public institution were easy to be damaged because definition or scope of Archival Objects was ambiguous and management system for material character wasn't exist. Even though the revised Records and Archives Management Act suggest definition and declare the responsibility of management, management system focused on various shape and material of objects need to be established. So this study has defined Archival Objects shortly and carried out a research 5 institutions on the actual management condition. By researching the result of institution survey, Records and Archives Management Act and actual Records Management System, we could find some problems. In solving these problems, We provide objects management process in the order capture ${\rightarrow}$ register ${\rightarrow}$ description ${\rightarrow}$ preservation ${\rightarrow}$ use${\rightarrow}$disposition. In addition, close cooperation between records center and museum of institution should be established for the unitive management at national level. This study has significance in introducing a base to manage Archival Objects systematically. By studying more, we hope to advance in management of valuable Archival Objects.

• Korean Journal of Environment and Ecology
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• v.33 no.1
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• pp.28-51
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• 2019

The purpose of this study was to analyze forest vegetation structure in Marugeum (the ridge line) area between Dakmokryeong and Daetjae in Baekdudaegan through vegetation classification, importance value, species diversity, and CCA using the data that were collected from 245 quadrates through Braun-Blanquet vegetation survey method from May to September in 2017. The results of the forest vegetation classification identified 8 vegetation units with Quercus mongolica community group at the highest level. Q. mongolica community group was classified into the Cornus controversa community, Buxus koreana community, Sasa borealis community, Abies nephrolepis community, and Q. mongolica typical community. C. controversa community was further classified into Quercus dentata group, Filipendula glaberrima group, Larix kaempferi group, and C. controversa typical group. The result of the important value analysis showed that Q. dentata had the highest importance value at 19.1% in vegetation unit 1 while Q. mongolica had the highest importance value at 22.7%, 38.3%, 25.6%, 41.3%, 27.9%, and 41.6% in vegetation unit 2, 4, 5, 6, 7, and 8, respectively, and L. kaempferi had the highest importance value at 27.6% in vegetation unit 3. As such, Q. mongolica species generally represented the communities of Marugeum (the ridge line) area of Dakmokryeong to Daetjae in Baekdudaegan. The results of species diversity showed that vegetation unit 1 and 2 were 3.305 and 3.236, respectively, which were relatively higher than other vegetation units. It was considered that this result was due to the influence of high emergence of present species. The results of the CCA analysis of the correlations between biotic environmental factors and vegetation types showed that vegetation unit 1 was mainly correlated with the megaphanerophyte ratio and vine plant ratio. In the correlations between abiotic environmental factors and vegetation types, vegetation unit 7 was significantly correlated with altitude. From the perspective of ecological management, vegetation unit 5 represented by B. koreana community was inhabited by a variety of plants due to the species composition and location environment due to the geological characteristics that are typical of limestone area. Vegetation unit 7 represented by A. nephrolepis community was typified as subalpine vegetation widely distributed by relict species and endemic species. We concluded that it is necessary to manage these vegetation units with an ecologically differentiated approach.