• Asian Journal of Turfgrass Science
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• v.26 no.1
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• pp.44-53
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• 2012

As SCB liquid fertilizer (SCB) produced from or out of livestock manure by slurry composting and biofiltration process was applied in golf course, the effect on soil properties and water quality was little investigated. This study was conducted to evaluate the effect of the SCB liquid fertilizer application on environment by monitoring chemical property of soil and water quality of pond as applied chemical fertilizer (CF) and SCB. SCB application rarely contaminated the soil and pond in golf course and decreased organic matter, CEC and Ca in soil and pH and T-N for water quality of pond. In correlation coefficient between soil property parameters, water quality parameters and water quality items, SCB applied in golf course decreased organic matter and CEC in soil and increased SAR in water quality (P<0.01). Nitrogen applied in golf course with SCB or CF was significantly related to T-N in the soil (P<0.01), but not significantly related to T-N in the pond water. These results showed that SCB application little contaminated soil and pond in golf course, and was expected to control of thatch in soil and algae in pond.

• Asian Journal of Turfgrass Science
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• v.25 no.2
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• pp.133-137
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• 2011

Winterkill can be defined as any injury including freeze stress kill, winter desiccation, and low temperature disease to turfgrass plants that occurs during the winter period. The major damages from winterkill were low temperature kill, crown hydration, and winter desiccation. Low temperature kill is caused by air and soil temperature. Soil temperature affect more severe to turfgrass than air temperature because low soil temperature cause fetal damage to turfgrass crown. Crown hydration is a form of winter injury in which intercellular water within the plant freezes and causes physical injury to the cell membrane and wall. This is eventually resulted in dehydration of cell. Winter desiccation is the death of leaves or whole plants due to drought during the winter period. To reduce winterkill damage, cultivar selection is very important. If changing cultivar is not allowed, cold temperature hardiness needs to be increased by providing nutrients especially phosphorus and potassium in the late fall. Turf cover is effective way to reduce winterkill damage. Remaining snow is positive process to reduce winterkill damage by insulating soil temperature. The previous researches reported many materials as turf cover such as straw, polypropylene, polyester, and wood mat. Aeration and topdressing is one of the process against winterkill. Both methods are mainly conducted to reduce thickness of thatch layer. In recent, relatively new materials called black or winter topdressing sand are used to protect soil temperature from low air temperature and thaw ice crystal that may remain in soil.

• Korean Journal of Soil Science and Fertilizer
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• v.18 no.1
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• pp.27-31
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• 1985

To get well matured farm yard manure from ricestraw as quickly as possible during winter season, straw piles wrapped with polyethylene film and/or straw thatch were stored in the vinyl house or open air. Their maturities and changes of temperature in heap were investigated from the beginning of December 1983 to March of next year. Heat increment in vinyl house was high $2-5^{\circ}C$ than at open air at the lowest temperature but it didn't rise over the freezing point. However, the highest temperature was arisen over than $20^{\circ}C$ averagely at the vinylhouse compared to those of open air during three months. Temperature in piles of straw manure was reached to about $70^{\circ}C$ in maximum and rose again very rapidly after repiling in the vinyl house, whereas increment of temperature after repiling was delayed and took long times to reach the maximum temperature at open air. Wrapping with P.E. film also affected the insulation of decomposing heat of straw pile and promoted the repeat of piling even at open air. By these results, ricestraw would be decomposed rapidly by insulation with P.E. film in the vinyl house and could be reached to matured compost for application to field on next spring season. P.E. film covered for vinyl house was endured until May of next year without tear by weathering.

• The Research Journal of the Costume Culture
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• v.3 no.2
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• pp.241-260
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• 1995

The Maori's traditional clothing materials, basic forms of dress, and the pattern and technique of tatoo were examined in the present study in order to deepen the appreciation of the cultural heritage of the Maori. The research method employed was the analysis of written materials. And a fild-trip was also made for the study. The study was limitted to the traditional culture of body adornment of the Maori including the clothing which is preserved and practicing by them at the present day, and the origin and the process of the historical development of those are not included in the scope of the present study. Followings are the results of the study: (1) By far the most widely used fiber for Maori clothing is abtained from what is commonly called New Zealand Flax. The fiber of kiekie(Freycinetia baueriana) and cabbage trees(Cordyline spp.) may also be used. The strong, long-lasting fiber of toi(cordyline indivisa) is used for a prestige warrior's cloak. Flat strips of ti kauka(Cordyline australi) are also used as thatch on rain cloaks. (2) Regardless of technique used, Maori weaving is always worked horizontally from left to right. Traditionally the work was suspended between two upright turuturu or weaving sticks. As the work progressed a second pair of uprights was used to keep the work off the ground. These uprights were moved forward as required. Because the weaver sat on the ground, the working edge was kept at a height that was comfortable to reach. No weaving tools are used, the wefts(aho) being manipulated by the fingers. The two main Maori weaving techniques are whatu aho patahi(single-pair twining) and whatu aho rua(double-pair twining). (3) The Maori wore two basic garments - a waist met and a cloak. The cloth of commoners were of plain manufacture, while those of people of rank were superior, sometimes being decorated with feather or dyed tags and decorated borders. Children ran more-or-less naked until puberty, being dressed only for special events. Some working dress consisted of nothing more than belts with leaves thrust under them. Chiefs and commoners usually went barefoot, using rough sandals on journeys over rough country (4) The adornment of men and women of rank was an important matter of tribal concern as it was in chiefly persons that prestige of the group was centred, The durable items of Maori persons adornment were either worn or carried. Ornaments of various kinds were draped about the neck or suspended from pierced earlobes. Combs decorated the head. Personal decorations not only enhanced the appearance of men and women, but many had protective magical function. The most evident personal ornament was the hei-tiki made of jade or other material. Maori weapons were treasured by their owners. They served on bottle and were also personal regalia. A man of rank was not fully dressed without a weapon in hand. Also weapons were essential to effective oratory. (5) No man or woman of rank went without some tattoo adornment except in extremely rare instances when a person was too sacred to have any blood shed. The untattooed were marked as beeing commoners of no social standing. This indelible mark of rank was begun, with appropriate rite and ritual, at puberty. And tattoo marked the person as being of a marriageable age. Maori tattoo was unlike most traditional tattoo in that its main line were 'engraved' on the face with deep cuts made by miniature bone chisels. The fill-in areas were not tattooed with cuts but with the multiple pricks of small bone 'combs' that only lightly penetrated the skin surface. The instrument of tattoo consisted of small pots of pumice or wood into which was placed a wetted black pigment made from burnt kauri gum, burnt vegetable caterpillars or other sooty materials. A bird bone chisel or comb set at right angles on a short wooden handle was dipped into the gigment, that a rod or stick was used to tap head of this miniature adze, causing penetration of the skin surface. Black pigment lodged under the skin took on a bluish tinge. A full made facial tattoo consisted of major spirals with smaller spirals on each side of the nose and sweeping curved lines radiating out from between the brows over the forehead and from the nose to the chin. The major patterns were cut deep, while the secondary koru patterns were lightly pricked into the skin.

• Asian Journal of Turfgrass Science
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• v.22 no.2
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• pp.171-178
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• 2008

We have found the clusters of tiny spiny puffball-like mushrooms growing gregariously in fairy ring (arcs) rimmed by a zone of darker green grass in the golf courses. Macroscopic as well as microscopic characters were examined for the morphology of fruiting body. Exoperidium is thin and densely spiny with minute fibrillae at early stage. The connivent spines were soft and quite persistent. In age, the fibrillae scrumble away with a powdery coating, which leaves white endoperidium becoming pale brown. It's interior was white and fleshy at first, but turns into an olive-colored dust as the gleba, the spore-producing tissue, develops to maturity and loaded with olive-brown spore mass. Then, distinct apical pore developed on the endoperidium. Rudimentary subgleba(sterile base) was narrow, chambered, delineated from the gleba by a membrane in young material. These characters suggested this fungus is a Vascellum, a member of the family Lycoperdaceae. The shapes of the spores were globose, echinulate, $3{\sim}3.5{\mu}m$ in diameter, thick-walled, and olive brown. Capillitial threads were $8-9{\mu}m$ wide, mostly colorless in KOH solution and thin-walled, which designated as "paracapillitium". This is an another character that distinguishes this mushroom from Lycoperdon spp. The spines developed on exoperidium were characteristically connivent; their apices joined together in a point, leaving a space below, which gives the appearance of vault to each group of usually 5 to 6 fibrillae. Based on the above characters, this fungus is identified as Vascellum curtisii (Berkeley). The characters distinguishable this from Lycoperdon pulcherrimum, and Vascellum pretense are discussed in detail. Control trial was also attempted. Strong vertical raking(SVR) followed by applying 500x detergent solution (Spark, Aekyung Co. Seoul) resulted in excellent control over any other treatments. In this plot, fruiting body was not developed throughout the end of mushroom growing season.

• Sim-seong Yeon-gu
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• v.31 no.2
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• pp.113-150
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• 2016

Chobun refers to a temporary grave covered with straw thatch that contains a corpse until its flesh is gone. When all the flesh has rotted away, the straw grave is disassembled and only the bones are retrieved. Therefore, Chobun is an example of a secondary burial custom (German : Doppel Bestattung) that is composed of a first temporary funeral for processing the corpse's flesh, and a second permanent burial of the final remains (bones or ashes). The duration of the temporary burial is determined by the time needed for decomposing the flesh of the deceased. Building a Chobun progresses putrefaction and reduction to bone. In the literature of alchemy, putrefaction and new life occur simultaneously. The purpose of rotting is to make the flesh disappear, leaving only its essence. It is making the physical body enter a spiritual state, so that the dead can enter into a different world. One must endure the unstable rotting process until the smell of flesh has faded. The rotting process is the attitude of accepting the terrible, polluted aspect of the corpse, while maintaining a helpless, passive posture, in order to allow new possibilities. When we try to approach an archetypal aspect of the unconscious, it is often experienced in threatening, aggressive ways. In the individuation process, the unconscious offers us the blessing of a new spiritual awakening and renewed sense of life, only when we have the courage to see this terrifying and contaminated side of our psyche. This is exactly what putrefaction means. Bone and skeleton symbolize the indestructible, imperishable, and essential elements of life. Bone is the minimum unit and foundation for regeneration, where new life can grow. Reduction to bone is moving back to the origin of life, to the womb. Psychologically, it means discarding one's ego-centeredness and allowing the Self to lead the entire process of individuation. Going through the painful process of reduction to a skeleton for the purpose of further development is a declaration of the death of the ego, aiming at the liberation from perishable flesh and acquisition of the spiritual, regenerative, and immortal elements of life. Chobun also denotes the yearly decay and revival of life, especially of vegetal life. In Chobun, this symbolic meaning of the vegetal cycle of life is emphasized to represent the part of life that survives even after death. Vegetation related to Chobun deals with the continuity of life and psychologically with the Self. Images of vegetation are closely related to the existence of life beyond death, which is the existence of the Self, the source of energy that constantly renews and rejuvenates the consciousness.