• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.80-98
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• 2023

In the late Joseon Dynasty, when the bride would ride a palanquin when she went to live with her in-laws, it was a custom to cover the palanquin with tiger skin to ward off misfortunes that may come her way. The higher classes used tiger skin or leopard skin for this purpose, but the common people had to substitute this expensive item with a tiger pattern painted on a blanket. Such blankets were called hotanja, hogu, hoguyok and the like. The term "hotanja" is a pure Korean word. It is not known when the cover for the bridal palanquin was first used, but it was popular from the end of the 19^th century and then gradually disappeared. This is due to the introduction of new Western style weddings that eliminated the need for a bridal palanquin. The tiger print blanket was used not only to cover the bride's palanquin but also to cover a table or floor during the wedding ceremony. This study ran a material analysis on nine pieces of tiger print blankets. All of the blanket artifacts examined in this study had an outer cover and a lining made of fabric that used cotton thread for the warp and wool thread for the weft. Two kinds of wool were found in the weft thread in the outer covers: fat-tailed sheep hair from China and goat hair for carpets from the Hebei province, China. Records show that "blankets with painted tiger patterns" were imported from Russia, and the imported blankets were from Russia and China. The outer cover can be categorized into six types, and the lining into three types depending on the weave and direction of the thread twist. The hem facing can be divided into four types. The lining and outer cover use the full width of the fabric, which was woven in wide widths of 135 cm or wider. The tiger pattern on the blanket was made by stenciling. The stencil design of the body and tail of the tiger were placed on a red blanket to be painted in white, and then the background color of the tiger, which is yellow, would be painted over the white, and then black stripes would be added. The pattern of the tiger varies, which shows that the blankets were made by various craftspeople. The pattern of the tiger print blanket is usually of a tiger lying down, but there were tiger print blankets with a tiger standing up. The pattern of the tiger grew smaller over time, and flower patterns were added in the background. Decorative elements were gradually added to the tiger print blanket patterns, but its function as a palanquin cover became lost. By taking the features of tiger print blankets into consideration, it can be assumed that there are imported pieces among the remaining pieces, and were produced in various places because it was popular at that time.

• (The)Study of the Eastern Classic
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• no.70
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• pp.435-466
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• 2018

"Hajaeilgi (荷齋日記)" was written by Ji Gyu-sik, a gongin of Saongwon (司饔院)'s branch, almost everyday for 20 years and 7 months from January 1st, 1891 until the leap month of June 29th, 1911. It deals with many different areas including domestic and foreign circumstances, custom, rituals, all the affairs related to the branch, and also everyday life. Particularly, Ji Gyu-sik did not belong to the yangban class, and we can hardly find diaries written by such class' people. Here, what this author pays attention to among the things written in "Hajaeilgi" is the contents about rituals, especially coming of age, wedding, funeral and ancestral rites. Ji Gyu-sik did write in his "Hajaeilgi" about coming of age, wedding, funeral and ancestral rites that were actually performed then as a person not belonging to the yangban class. Such diaries are very rare, and its value is highly appreciated as a material. Particularly, from the late 19th to the early 20th century of this author focuses on the a study of coming of age, wedding, funeral and ancestral rites as we can see some aspects about it from his diary. Coming-of-age rites were carried out in the first month of the year generally, and in this period, we can see the transformation of their performing period as it was diversified then. This was not exceptional in yangban families. About wedding, while it was discussed, it came to be canceled more often than before maybe because they were going through the process of enlightenment then. It seems that choosing the day was not done in the bride's family always. Jungin or commoners had a weeding in the bride's house, but when it was needed, it was also performed in the groom's house. Ji Gyu-sik followed the traditional wedding procedure for his children rather faithfully, but it was applied flexibly according to the two families' situations or conditions. Ignoring the traditional manners, they had a wedding in the period of mourning or performed a wedding in the groom's house bringing the bride there. It seems that this was related to the decline of Confucian order in the society in the process of modernization. Also, the form of donations changed, too. Gradually, it was altered to the form of money gifts. Moreover, unlike before, divorcing seems to have been allowed then. Remarriage or divorce was the custom transformed from before. Funeral rites had different durations from death up to balin (carrying out a bier for burial) and hagwan (lowering a coffin into the grave), and so it means that they also went through transformation. Sa-daebu used usually 3 months but here was 7 days from death to balin normally, but it seems that there were yangban families not following it. The traces of 3-iljang (burial on the third day after death) most commonly found these days and chowoo jaewoo samwooje can be also found in "Hajaeilgi". Such materials are, in fact, very highly evaluated nowadays. Meanwhile, donations also changed gradually to the form of money. Regarding ancestral rites, time for memorial service was not fixed. Ji Gyu-sik did not follow jaegye (齋戒) before carrying out gijesa, and in some worse case, he went to pub the day before the memorial service to meet his lover or drink. This is somewhat different from the practice of yangban sadaebu then. Even after entering Christianity, Ji Gyu-sik performed memorial service, and after joining Cheondogyo, he did it, too. Meanwhile, there were some exceptions, but in Hansik or Chuseok, Ji Gyu-sik performed charye (myoje) before the tomb in person or sent his little brother or son to do it. But we cannot find the contents that tell us Ji Gyu-sik carried out myoje in October. Ji Gyu-sik performed saengiljesa calling it saengsincharye almost every year for his late father. But it is noticeable that he performed saengsincharye and memorial service separately, too, occasionally. The gijesa, charye, myoje, and saengsincharye carried out by jungin family from Gyeonggi Gwangju around the time that the status system was abolished and the Japanese Empire took power may have been rather different and less strict than yangban family's practice of ancestral rites; however, it is significant that we can see with it the aspects of ancestral rites performed in family not yangban. As described above, the contents about the a study of coming of age, wedding, funeral and ancestral rites found in "Hajaeilgi" are equipped with great value as material and meaningful in the perspective of forklore.

• Journal of the Korea Concrete Institute
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• v.26 no.1
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• pp.3-12
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• 2014

Hybrid Truss Bridge (HTB) uses steel truss webs instead of concrete webs in prestressed box girder bridges, which is becoming popular due to its structural benefits such as relatively light self-weight and good aesthetics appearance. Since the core technology of this bridge is the connection system between concrete slabs and steel truss members, several connection systems were proposed and experimentally evaluated. Also, the selected joint system was applied to the real bride design and construction. The research was performed on the connection system, since it can affect the global behavior of this bridge such as flexural and fatigue behaviors as well as the local behavior around the connection region. The evaluation study showed that HTB applied to a curved bridge or an eccentrically loaded bridge had a weak torsional capacity compared to an ordinary PSC box girder bridge due to the open cross-sectional characteristic of HTB. Therefore, three types of girders with different joint system between truss web member and concrete slab were tested for their torsional capacity. In this study, the three different types of HTB girders under torsional loading were simulated using FEM analysis to investigate the torsional behavior of HTB girders more in detail. The results are discussed in detail in the paper.

• Asian-Australasian Journal of Animal Sciences
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• v.19 no.4
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• pp.554-562
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• 2006

Two lines of mice, M16 selected for rapid growth and a randomly selected control ICR as well as their reciprocal crosses were used to study the effects of genotype on whole-body energetics and intestinal responses to monensin. Six mice, eight weeks of age, from each line or reciprocal cross were assigned to one of two treatments, 1) drinking water containing 20 mmol/L monensin dissolved in 0.5% V/V ethanol, and 2) drinking water containing 0.5% V/V ethanol (control) for two weeks. After 11 days (age of 9 weeks and 4 days), whole-body $O_2$ consumption was measured. At the end of two weeks, jejunal $O_2$ consumption, intestinal tissue composition and histomorphometrics as well as the rate and efficiency of glucose absorption were estimated. In comparison with the control, monensin administration in drinking water resulted in less daily water intake (13.4 vs. 15.5 ml/mouse, p<0.01), less protein to DNA ratio of jejunal mucosa (5.41 vs. 6.01 mg/mg, p<0.05), lower villus width (88 vs. $100{\mu}m$, p<0.05), and less jejunal tissue $O_2$ consumption enhancement by alcohol (7.2 vs. 10.5%, p<0.01) in mice. Other than those changes, monensin had little (p>0.05) effect on variables measured in either line of mice or their reciprocal cross. In contrast, the M16 line, selected for rapid growth, as compared to the ICR controls or the reciprocal crosses, had less initial (pre-monensin treatment) whole-body $O_2$ consumption per gram of body weight (1.68 vs. $2.11-2.34{\mu}mol/min{\cdot}g$ BW, p<0.01) as compared to the ICR and reciprocal crosses. In addition, the M16 mice exhibited greater growth (412 vs. 137-210 mg/d, p<0.05), better feed efficiency (41.7 vs. 19.9-29.3 mg gain/g feed, p<0.05), shorter small intestines adjusted for fasted body weight (1.00 vs. 1.22-1.44 cm/g FBW, p<0.05), wider villi (109 vs. $87-93{\mu}m$, p<0.05), more mature height of enterocytes (28.8 vs. $24.4-25.1{\mu}m$, p<0.05) and a lower rate (91 vs. $133-145{\eta}mol\;glucose/min{\cdot}g$ jejunum, p<0.05) and less energetic efficiency (95 vs. $59-72{\eta}mol$ ATP expended/${\eta}mol$ glucose uptake, p<0.05) of glucose absorption compared to the ICR line and the reciprocal cross. Monensin had little (p>0.05) effect on whole-body $O_2$ consumption and jejunal function, whilst selection for rapid growth resulted in an apparent down-regulation of intestinal function. These data suggest that genetic selection for increased growth does not result in concomitant changes in intestinal function. This asynchrony in the selection for production traits and intestinal function may hinder full phenotypic expression of genotypic growth potential.

• Anxiety and mood
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• v.7 no.2
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• pp.92-100
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• 2011

Objectives : The aim of this study was to investigate Post Traumatic Stress Disorder (PTSD)-related symptom severity, level of functional impairment and personality profiles between full-blown PTSD, partial PTSD and non-PTSD groups among 59 adolescent survivals from the Incheon fire disaster. Method : Using Short Screening Scale for DSM-IV PTSD, victims of the disaster were assigned to a full-blown PTSD group (n=18), a partial PTSD (n=22), or a non-PTSD group (n=19). Assessments included the Beck Depression Inventory (BDI), the State-Trait Anxiety Inventory (STAI), the Impact of Event Scales (IES), the McBride's Degree of General Labor Loss, and the Korean Version of Temperament and Character Inventory (K-TCI). Results : Significantly severe PTSD symptoms (F=4.832, df=2, p<.05) and functional impairment (F=12.144, df=2, p<.01) were demonstrated by PTSD groups as compared to the non-PTSD group. Interestingly, full and partial PTSD did not differ in these comparisons. Similarly, the subtypes of PTSD did not differ with respect to personality profiles using the K-TCI ; however, personality profiles were sharply differentiated between the PTSD and non-PTSD group. Conclusion : Although high subject homogeneity and small sample size may limit the results of this study, the present results highlight the possibility of the underestimation as well as the insufficient, treatment and compensation of partial vs full PTSD.

• Journal of the Korean Institute of Landscape Architecture
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• v.40 no.4
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• pp.51-61
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• 2012

Kyong-Eui Railway used to be one of the major cross-country railways connecting Busan and Shineuiju. Being the central axis of logistics and transportation in Korea, it also signifies a symbolic meaning of the people's desire for the unification of divided Korean peninsula. A steam locomotive that had stopped in Jangdan Station was bombed out during the Korean War. The locomotive has been neglected and covered with rust in DMZ over a half century, and now is becoming a historic reminder of divided Korea. The initial design approach was based on the three main perspectives of the relocation plan of the steam locomotive in Jangdan Station which is designated as the registered cultural asset no. 78: historical significance, role of a monumental space, and influence on and from the local culture and tourism. Three design subjects were especially highlighted which would represent the identity of the cultural asset, the stream locomotive. First, a vertical watching deck was installed to provide various view points toward the locomotive while ensuring the security of visitors as well as the cultural asset. Second, the Dokgae bride area has good design potentials being on the railway. However, the site is too narrow. Thus, a new ramp and a stairway were placed responding to the existing topography so that the pedestrian environment could be secured last, to respect the local context where the locomotive was originally located, mulberry trees in the locomotive were transplanted as well. Flowering plants were planted around the display area for better ventilation to minimize the negative impact on the locomotive.

• Journal of the Korea Concrete Institute
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• v.25 no.1
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• pp.63-72
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• 2013

HTB (hybrid truss bridge) steel truss webs instead of concrete webs in prestressed box girder bridges has been widely used in, because of its structural benefit such as relatively less self-weight and good aesthetics due to open web structure. Since the core technology of this bridge is the connection system between concrete slabs and steel truss members, several connection systems were proposed and experimentally evaluated. Also, the selected joint system was applied to the real bride design and construction. The researches were performed on the connection system, since it can affect the global behavior of this bridge such as flexural and fatigue behaviors as well as the local behavior around the connection region. The evaluation study showned that HTB applied to a curved bridge or a eccentric loading bridge, characteristic has a weak torsional capacity compared to an ordinary PSC box girder bridges due to the open structure of HTB. In this study, three box shaped hybrid truss specimens were made and the torsional test and evaluation for them were performed in order to find out the torsional behavior of HTB according to the connection system.

• Journal of Fashion Business
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• v.5 no.2
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• pp.15-34
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• 2001

Ornaments are accessories for the decoration of the body or dress. They aren't unavoidably required one, but serve to make one's dress perfect as decorative industrial art objects. In Morocco, ornaments were initially used as a sign of social position or the class or an incantatory symbol. In effect, they were originally employed to adjust one's dress, not just for decoration, and they were of use for household economy. Gold, silver and handcraft available for exchange were a means of increasing one's property and an indication of social standing and wealth. In particular, the dress and jewelry of a bride was a measure of her family's wealth, regarded as a symbol of her chastity and value. The ornaments symbolically back up people's faith in supernatural power, and their real value is based on implicit form or way of decoration, not the external shape. Specifically, there is a tendency to use the form of animal as a protector, not one to frighten people. In the artistic tradition of Morocco, fish pattern stands for water and rain, and eagle and bird are considered to be related to fate. Scorpion and lizard are depicted as an inquirer of sun, and snake is a symbol of abundance and sexual instinct, being viewed to have an ability to cure disease. Turtle pattern is a symbol of saint because it protects one from the evil. The ornaments are made of gold, silver, amber, clam, garnet, glass, nielle, enamel, glaze, coral or tree, and symbolic patterns are used, including hand(a symbol of five numerals), turtle, lizard, scorpion, eye, triangle, bird and eggs. They are very big and diverse, being categorized into ornaments for the head or the chest, neckless, fibula, earring, bracelet and ring. For Moroccans, make-up is a sort of instinctive behavior to meet aesthetic and sexual desire. They also wear make-up for practical purpose of protection, intentionally inflict a wound on the skin for ceremonial or religious purpose, paint the skin with pigment, or have the part of the body tattooed for incantatory purpose. All this actions are regarded as make-up. The raw material of cosmetics is aker, a vegetable dye. They get the lips or cheeks turn red and paint eyebrows with yellow saffran powder to have a bad devil lose its strength. Tattooing is mainly done by women and viewed as a sign of their value or social organization they belong to. Sometimes that is used to represent a woman's being old enough to marry or getting married already or the frequency of marriage. Besides, tattoo is believed to prevent or remedy loose bowels or cough, depending on its location or pattern, and they often change tattoo according to the change of beauty art.

• Journal of the Korean Society of Costume
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• v.43
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• pp.243-258
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• 1999

This is a study of CHOK-DU-RI(族頭里) a black crown-like headpiece worn by woman on formal occasion in Chosun Dynasty and has succeeded until now. CHOK-DU-RI was originated by BOKTAK worn by Mongolian noblewomen and inflowed to the last period of Koryo dynasty under occupation of Yuan. The documentary records of O-JU-YON-MUN-CHSNG-JON-SAN-KO( by Lee Kyu-kung CHUNG-JANG-KWAN-JON-SUH by Lee Tock-mu and KO-SA-TONG by choe Nam-sun verify CHOK-DU-RI is a custom of mongolian fusion that was affected by KO-KO of Yuan and was formed. Ko-Ko is the same as BOKTAK. It is assumed KO-KO is a borrowed name as its transcription varies. The name was given according to its appearance which is certified by the record CHANGCHUN-CHIN-IN-SEO-BANG-YU-RAM-KI. It says that it can be simply named KO-KO as its edge is alike ad goose or a duck. In addition KO-Ko was called CHOGTAI in case of being added a camel fur that is JUGDUR. CHOGTAI similarily pronounced with CHOK-DU-RI which of being added a camel fur that is JUGDUR, CHOGTAI similarily pronounced with CHOK-DU-RI which provd CHOK-DU-RI was originated in Mongol. The shape of BOKTAK is very high and wided toward the top with the top with the angle getting more pointed and a feather stuck on the side. But its height got lower and its size smaller as it did gradually Koreanized to a CHOK-DU-RI. The use of CHOK-DU-RI has been settled since the last period of Chosun Dynasty. It came to stay as a popular custom when King Young-jo and Jong-jo wanting to do away with the corrupt practice of KA-CHE encouraged women at that time to do their hairs with CHOK-DU-RI instead of KA-CHE. It is as follows the classification of CHOK-DU-RI. First classified by a use group is divided into ceremonial use such as the seven treasures CHOK-DU-RI and jeweled CHOK-DU-RI. Hereby it is assumed that CHOK-DU-RI was used regardless of fortune. Secondly it varies by its type of frame. There are SOM CHOK-DU-RI OHT CHOK-DU-RI and O-YOM CHOK-DU-RI a kind of SOM CHOK-DU-Ri formed a base of O-YOM-MO-RI. The third group by jeweling has WHE-BONG CHOK-DU-RI and TA-BONG-CHOK-DU-RI JEwele CHOk-DU-RI can be still seen being commercially lent and worn by the brides at nuptical ceremonies performed in tradition of fashion and when worn bya bride as she gives her parents to her parents-in-law.

• Cross-Cultural Studies
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• v.39
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• pp.219-240
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• 2015

The following summarized argument is the comparative research of the characteristics of automatic techniques demonstrated in the mixed expression of foreign language and Korean language in Lee Sang's poetry. Our research examines the use of foreign languages such as French and English shown in Lee Sang's poems, and then, recognized the characteristics of the automatic techniques demonstrated by the parallel marks and signs of Korean language. The automatical technique's element that Lee Sang made use of is a language of loanblend, consisting of free use of French, English, Japanese and Korean. The mathematical and geometric figures such as numbers and shapes can be seen as an important poetic language. In Lee Sang's poetry, the French words "AMOUREUSES" and "ESQUISSE" and English words "I WED A TOY BRIDE" are considered as parts of Korean language. The use of foreign language is seen by the readers as encodes of a unacquainted language and it provides rhetorical characteritstics that gives off profanatory feeling about the poetry. The poet is seen to have created a new poetic language that excess the standards of the limitations that Korean and Chinese marks have through the application of polysems and poliphonyic effects that foreign languages have. The mathematical and geometric signs are Lee Sang's special experimental elements that can't be seen in other literary poetries. They are conversational and the requirements for the expression of abstract artistry and esthetics. The language used in his poetry are external to those traditional poetic languages and they mix freely with other poetic elements to become an automatic technique used in the writing. Lee Sang's techniques can be considered as the pursuit of defiance and departure, freedom about literature and artistry. Moreover, the avant-garde expressionism is the literary form that demonstrated the sense of inferiority, nervousness and loneliness risen from physical pain and the abnormal relationship with women in the poet's personal life. The technique shows the longingness of the the Western culture and literature that lay dormant in the poet's consciousness and it is also the expression of ingenious that created the new guide in the Korean poetic literature, exceeding the European surrealism. Lastly, the automatic technique images that are demonstrated by the mixture of the foreign languages and Korean language are the creations of an innate poetic language and poetic literature that can't be imitated by anyone in Korean literature.