• Journal of Food Hygiene and Safety
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• v.38 no.6
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• pp.496-507
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• 2023

This study investigated species identification and labeling compliance of 48 shrimp products sold in the Korean online markets. Species identification was conducted using the standard DNA barcoding method, using the cytochrome c oxidase subunit I gene. The obtained sequences were compared with those deposited in the NCBI GenBank and BOLD Systems databases. Additionally, phylogenetic analysis was performed to further verify the identified shrimp species. Consequently, 16 shrimp species were identified, including Penaeus vannamei, Pandalus borealis, Palaemon gravieri, Leptochela gracilis, Penaeus monodon, Pleoticus muelleri, Metapenaeopsis dalei, Euphausia pacifica, Lebbeus groenlandicus, Trachypenaeus curvirostris, Argis lar, Metanephrops thomsoni, Metapenaeopsis barbata, Alpheus japonicus, Penaeus chinensis, and Mierspenaeopsis hardwickii. The most prevalent species was Penaeus vannamei, found in 45.8% of the analyzed products. A significant mislabeling rate of 72.9% was found; however, upon excluding generic names such as shrimp, the mislabeling rate reduced to 10.4%. The mislabeling rate was higher in highly-processed products (89.3%) compared with that in minimally-processed products (50%). No correlation was found between the country of origin and mislabeling rate. The results of this study provide crucial data for future monitoring of shrimp products and improving the labeling of shrimp species in Korea.

• (The) Research of the performance art and culture
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• no.36
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• pp.185-221
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• 2018

This study examined the process of the formation of Deoneum, Sugungga(水宮歌), and its tendency of the change through the trace of the Pansori masters who worked in 19th century. The time that the main group of the Sugungga masters appeared in the Pansory history is estimated in early 19th century. The Sugungga masters in this time could be divided in two groups, one is the early days masters who worked in early 19th century and the other is the latter days masters who worked in middle and late 19th century. Kwon Sam-deuk(權三得), Song Heung-lok(宋興祿), Yeom Gyeo-dal(廉季達), and Shin Man-yeob(申萬葉) are the Sugungga masters who worked in early 19th century. By the records they left, I could confirm that they used the description about the dramatic characteristics in the work and Soritjo(Pansori master's tonality), like the appearance of 'Bangge(crab)' and 'Tiger', and particularly they developed which has the scene of the Rabbit's deceiving the Dragon King and Rabbit's return, 'Goandaejangja(寬大長者)', 'Gaja-Eoseoga', 'Sojinowha(笑指蘆花)', 'Apnae-Beodeuleun' and the scene of 'Rabbit's curse(the part that Rabbit curses Byeljubu)' etc. I could understand that the interest of the early days Pansori masters about Sugungga is on the characters and the latter part of the work. The separation of Dongpyeonje(東便制) and Seopyeonje(西便制) of Pansori was done in the middle and late 19th century. As the Dongpyeonje master, Song Wu-ryong(宋雨龍), Park Man-sun(朴萬順), Song Man-gab(宋萬甲), Shin Hak-jun(申鶴俊) and Yu Seong-jun(劉成俊) worked. As the Seopyeonje masters, Park Yu-jeon(朴裕全), Kim geo-bok(金巨福), Kim Su-yeong(金壽永) and Baek Gyeong-jun(白慶順) etc. sang Sugungga. The Dongpyeonje masters developed the 'Toggigibyeon(토끼奇變)' related Deoneum paying attention on the latter part of Sugungga same as the early days masters. Meanwhile it looks like that they had interest in developing the parts which belong to the middle and early parts of Sugungga like 'Toggiwhasang(토끼畵像)', 'Gogocheonbyeon(皐皐天邊)' and 'Tobyeolmundab(兎鱉問答)'. The Seopyeonje masters developed the parts belong to the early part of Sugungga, which are related to Dragon King and the courtiers in Sugung palace, like 'YongwangTansik(龍王歎息)'. And I could confirm that they developed the parts influenced by Shin Jaehyo's editorials like 'Tosahobi(兎死狐悲)' and 'Goguksancheon(故國山川)' etc. In short, I could confirm the trend that the Pansori masters in 19th century had interest in from the latter part to the early part of Sugungga. If taking a look focusing on main characters, they moved their interest in from Rabbit to the courtiers including Byeoljubu(鱉主簿) and Dragon King in Sugung palace, and it could say that, in this trend, Sori part and Deoneum were developed.

• Sim-seong Yeon-gu
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• v.28 no.1
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• pp.50-87
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• 2013

C. G. Jung believed that universal and basic condition of human's Unconscious comes out from Märchen or mythology. We can easily experience these universality of human nature in dreams. Therefore, It is very important to interpret mythogens that appear in myths and märchen in analytical psychology to understand these 'big dreams' which could be seen in clinical practice. As I was interested in interpreting myths in analytic psychology, I tried to find universality of archetypes in Korea's traditional folk tales and took note of the birth myth of Hyeokgeose, the founder of Shilla dynasty, while examining the chater of the Unsual in history in the Heritage of the Three Kingdoms. Shilla was founded earlier than two other countries, but it was located in the very south of the Korean Peninsula, and it was behind times in politically, militarily, and culturally compare to Goguryeo and Baekje. However, Shilla achieved unifying the Three Kingdoms and it lasted 1000 years, the longest unified history in Korean history. I tried to examine archetypes in the birth myth if there are any backgrounds that are related to finding a Shilla Kingdom. It is noted that myth of the founder of Korean Peninsula's small Kingdom Shilla has complete story from before the birth to birth, birth of spouse, growth, marriage, accession, governing, death, after death, and succession. Symbols such as numbers 1, 3, 5, 6, 7, 13 and 61, various azimuthes including north, west, south, east, and central, animals like tiger, white horse, hen, dragon, phoenix, and snakes, natures like main symbol egg, rock, gourd, lightening, spring water, stream, tree, forest, mountain, iron and goddess-image like seon-do Holy Mother gradually appears in the myth. These symbols could show a meaning of human experience such as birth of Conscious, growth and development of paternal and maternal love, and story of regeneration and extinction. Moreover, It could be seen as these progress eternally continues in next generation. I have found out that a word, a sentence or stories that looks meaningless in myth revealed its true symbolical meaning. In addition, interaction between Unconscious and Conscious repeats in different forms, and expressed in layered.

• Journal of the Korean Institute of Rural Architecture
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• v.21 no.2
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• pp.19-26
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• 2019

Pungsu theory is important one in the site selection and lay-out of traditional Korean village and house. In this aspect, Study with a view of Pungsu theory might be used as a proper method for understanding the traditional architecture in Korea. In this context, this study analyzes the Jeong, Dong-Ho's house which is designated no. 19 as an important folk cultural heritage, located in Jigok Ochu-gil 133-62, Godeok-myon, Yesan-gun, Chungnam province. The analysis of the site and space lay-out is carried out by Yong(Dragon), Hyoel(Auspicious Spot), Sa(Sands), Su(Water) aspects of the Pungsu(Fengshui) Hyungsei-ron. The house is depending upon soft dragon vein connecting with a earth type rear mountain. It looks southeast direction, Gonjwasonhyang(乾坐巽向). The hyeolseong(穴星) has classical venus shape, and there is no faults relatively. The Sasinsa condition is almost perfect that right blue dragon and left white tiger surround the hyeol with 3-4 layers and the facing mountain covers the front open area. The water flowing from inside of left and right mountain is joined in front of the house so it could stop flowing out of vital energy. Bibo forest(裨補樹) is placed properly to protect the easy disclose of water outlet. The house is well organized western house(西四宅) by analysis of Dongseosataek-ron(東西四宅論). Through the analysis, I found that the house has good Pungsu(Fengshui) environment fitted with Pungsu Hyungsei-ron. The house composed of small thatched roof is enclosed several times by low hills of back, left and right side. So it is believed that the site might be carefully evaluated by Yong, Hyoel, Sa, Su of Hyeongsei-ron for knowing whether the site condition could minimize the demage by strong winds and protect from the winter cold wind and secure water for drinking and farming and then selected. The method of Pungsu for evaluating the geographical condition of surrounding of a site is used as a traditional site analysis method for evaluating the suitability of long-term well and safe residence.

• 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.

• Korean Journal of Cognitive Science
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• v.27 no.3
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• pp.469-499
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• 2016

The present study investigated the cognitive mechanism underlying online processing of Korean syntactic (for example, A bed/a clock belongs to/doesn't belong to the furniture "침대는/시계는 가구에 속한다/속하지 않는다") and lexical negation (for example, A tiger/a butterfly has/doesn't have a tail "호랑이는/나비는 꼬리가 있다/없다") using an ERP(Event-related potentials) technique and a truth-value verification task. 23 Korean native speakers were employed for the whole experiment and 15's brain responses (out of 23) were recorded for the ERP analysis. The behavioral results (i.e. verification task scores) show that there is universal pattern of the accuracy and response time for verification process: True-Affirmative (high accuracy and short latency) > False-Affirmative > False-Negated > True-Negated. However, the components (early N400 & P600) reflecting the immediate processing of a negation operator were observed only in lexical negation. Moreover, the ERP patterns reflecting an effect of truth value were not identical: N400 effect was observed in the true condition compared to the false condition in the lexically negated sentences, whereas Positivity effect (like early P600) was observed in the false condition compared to the true condition in the syntactically negated sentences. In conclusion, the form and location of negation operator varied by languages and negation types influences the strategy and pattern of online negation processing, however, the final representation resulting from different computational processing of negation appears to be language universal and is not directly affected by negation types.

• Horticultural Science & Technology
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• v.33 no.2
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• pp.292-297
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• 2015

A new cultivar of Hibiscus 'Red Bohanjae' (Hibiscus syriacus 'Red Bohanjae') was developed after crossing between Hibiscus syriacus 'Andong' (♀) with white flowers and Hibiscus syriacus 'Samchully' (♂) with pink flowers to improve flower quality and growth habit. The Hibiscus breeding program was initiated in 2002, and H. syriacus 'Red Bohanjae' was preliminarily selected as '02-RV-17' in 2003 due to its stable flower quality with rich pink flowers and small tree type. The selected line was further evaluated for growth characteristics, leaf shape, leaf size, flowering characteristics, and tested for distinctness, homogeneity, and stability during 2004-2007. The characteristics preserved by grafting. 'Red Bohanjae' showed a small growth habit with slightly upright branches. The tree had potential use as a potted plant or bonsai because of its dwarf form. The new cultivar 'Red Bohanjae' had violet-pink color flowers (RHS N78C) with red eye spots, small size (9.2 cm) and spatulate (I-type) petals. Leaves were 4.2 cm long and 2.3 cm wide. After the evaluation of plant characteristics for 3 years (2005-2007), it was registered as cultivar 'Red Bohanjae' (4118, plant variety protection rights number) in 2012. 'Red Bohanjae' having violet-pink flowers with red eye and dwarf tree form seems to be suitable for pot or bonsai cultivation in both indoor and outdoor conditions.

• Korean Journal of Heritage: History & Science
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• v.54 no.4
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• pp.152-173
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• 2021

The Large Banner was introduced during the Japanese Invasions of Korea with a new military system. It was a flag that controlled the movement of soldiers in military training. In addition, it was used in other ways, such as a symbol when receiving a king in a military camp, a flag raised on the front of a royal procession, at the reception and dispatch of envoys, and at a local official's procession. The Large Banner was recognized as a symbol of military dignity and training rites. The Large Banner was analyzed in the present study in the context of two different types of decorations. Type I includes chungdogi, gakgi and moongi. Type II includes grand, medium, and small obangi, geumgogi and pyomigi. Each type is decorated differently for each purpose. The size of the flag is estimated to be a square of over 4 ja long in length. Flame edges were attached to one side and run up and down The Large Banner used the Five Direction Colors based on the traditional principles of Yin-Yang and Five Elements. The pattern of the Large Banner is largely distinguished by four. The pattern of large obangi consists of divine beasts symbolizing the Five Directions and a Taoism amulet letter. The pattern of medium obangi features spiritual generals that escort the Five Directions. The pattern of small obangi has the Eight Trigrams. The pattern of moongi consists of a tiger with wings that keeps a tight watch on the army's doors. As for historical sources of coloring for Large Banner production, the color-written copy named Gije, from the collection of the Osaka Prefect Library, was confirmed as the style of the Yongho Camp in the mid to late 18th century, and it was also used for this essay and visualization work. We used Cloud-patterned Satin Damask as the background material for Large Banner production, to reveal the dignity of the military. The size of the 4 ja flag was determined to be 170 cm long and 145 cm wide, and the 5 ja flag was 200 cm long and 175 cm wide. The conversion formula used for this work was Youngjochuck (1 ja =30cm). In addition, the order of hierarchy in the Flag of the King was discovered within all flags of the late Joseon Dynasty. In the above historical study, the two types of Large Banner were visualized. The visualization considered the size of the flag, the decoration of the flagpole, and the patterns described in this essay to restore them to their original shape laid out the 18th century relics on the background. By presenting color, size, material patterns, and auxiliary items together, it was possible not only to produce 3D content, but also to produce real products.

• Journal of Food Hygiene and Safety
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• v.34 no.6
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• pp.562-570
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• 2019

The heavy metal concentrations in dried seafoods commonly consumed in Gyeonggi-do were analyzed. Concentrations of lead (Pb), cadmium (Cd), mercury (Hg) and selenium (Se) were measured in 95 samples with an inductively-coupled plasma-mass spectrometer (ICP-MS) and an Hg analyzer. The average concentration [mean±SD(minimum-maximum) mg/kg] of heavy metals were as follows: Pb 0.062±0.071(0.002-0.428), Cd 0.083±0.100(0.004-0.540), Hg 0.012±0.012(N.D-0.054) and Se 0.839±0.371(0.362-2.124). All the levels were below the recommended standards of the MFDS (Ministry of Food and Drug Safety). In the comparison of heavy metal content by anchovy size, it was shown that mercury was significantly higher in large anchovy (P<0.05). Selenium levels were found to differ significantly in small anchovy and large anchovy (P<0.05). Pb, Cd and Hg were significantly higher in Tiger prawn among shrimp (P<0.05). The heavy metal and selenium levels of anchovy and shad were highest in the intestine. However, the heavy metal and selenium levels of shrimp were highest in the head. In addition, weekly (monthly) intake of mercury and cadmium from dried seafoods was found to be 0.712% and 2.978% of PTW(M)I (Provisional Tolerable Weekly(Monthly) Intake) respectively. Therefore, it was found that dried seafoods were safe for consumption.

• 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.