• Korean Journal of Weed Science
• /
• v.18 no.2
• /
• pp.146-153
• /
• 1998

This experiment was conducted to clarify the characteristics of germination and emergence of Panicum dichotomiflorum which is a noxious weed species in direct-seeded rice field. P. dichotomiflorum was planted with several treatments such as different depths of irrigation to verifiy the ecological habits of seedling emergence and growth. In order to know the germination characteristics, Panicum dichotomiflorum seeds, pretreated with low-temperature($4^{\circ}C$) stratification for breaking the dormancy, were germinated under different temperature regimes and water potentials. Germination rates of P. dichotomiflorum was increased from 0% of dormant seed to 1%, 35% and 44% by stratification for 21, 28 and 42 days, respectively. Two dominant weed species in directseeded rice fields, Echinochloa crus-galli and Panicum dichotomitlorum, showed different germination habit under different temperature regimes. Echinochloa crus-galli showed more higher germination rate than Panicum dichotomiflorum at relatively low temperature regime(20/$10^{\circ}C$). Both species germinated faster at 30/$20^{\circ}C$ than at 20/$10^{\circ}C$. When the water potential was lowered, germination of Panicum dichotomiflorum was reduced more drastically than Echinochloa crus-galli. The critical water potential for germination of P. dichotomiflorum was -0.7MPa but Echinochloa crus-galli was affected slightly by the same water potential. The results showed that Echinochloa crus-galli can germinate under more wide range of soil water potential than Panicum dichotomiflorum. Emergence of P. dichotomiflorum was highly affected by irrigation depth and the level of water table. When the depth of irrigation water was increased, emergence of P. dichotomiflorum was dragged and emergence rate showed significant difference under the irrigation depth deeper than 6cm. The maximum depth of irrigation water for survival of Panicum dichotomiflorum seedling was 9cm.

• Korean Journal of Weed Science
• /
• v.13 no.1
• /
• pp.44-54
• /
• 1993

This experiment was conducted to understand the environmental factors affecting growth and tuber formation such as temperature, day length, tight intensity, water condition and cutting time of Eleocharis kuroguwai Ohwi. Plant height, shoot number and dry weight of E. kuroguwai were higher at high temperature, 25/$25^{\circ}C$ (day/night), while nitrogen content was higher at low temperature, 20/$15^{\circ}C$. Plant height was more affected by water temperature, while shoot number and dry weight were more affected by air temperature. Contents and absorption of nitrogen, phosphorus, and potassium in top parts of E. kuroguwai were higher under greater difference between air and water temperatures, i.e., 18/$28^{\circ}C$ and 28/$18^{\circ}C$. The number and weight of tubers were increased under greater difference between air and water temperatures, i.e, 18/$28^{\circ}C$ and 28/$18^{\circ}C$, while they were inhibited at low or high air/water temperatures (18/$18^{\circ}C$ or 28/$28^{\circ}C$). Tubers of E. kuroguwai were formed at 8-or 12-hour day length, however, no tuber was formed at l6-hour day length. Photoinductive period for tuber initiation of E. kuroguwai was between 30 and 45 days after emergence, and the induction period of short-day treatment was less than 10 days. Tuber number and weight were reduced by shading due to inhibition of the growth of top and underground parts. Number of days from planting to tuber initiation was shortned as planting time was delayed and plant height, dry weight, and tuber number were also reduced by delayed planting. Tuber number at l0 to 15cm water depth was decreased 63 to 75% as compared with 1 to 5cm water depth. Tuber number and dry weight were not affected by the size of tubers at planting. Due to the reduced growth of top and underground parts, tuber number and dry weight of E. kuroguwai were decreased by delayed shoot cutting. The critical cutting time to inhibit the growth of E. kuroguwai was about 70 days after emergence.

• Journal of Distribution Science
• /
• v.10 no.6
• /
• pp.39-53
• /
• 2012

It is widely known that knowledge management plays a facilitating role that contributes to upgrading organizational performance. Knowledge management systems (KMS), especially, support the knowledge management process including the sharing, creating, and using of knowledge within a company, and maximize the value of knowledge resources within an organization. Despite this widely held belief, there are few studies that describe how companies actually develop, share, and practice their knowledge. Companies in the domestic small franchise sector, which are in the early stages in terms of knowledge management, need to improve their KMS to manage their franchisees effectively. From this perspective, this study uses a qualitative approach to explore the actual process of knowledge management implementation. This article presents a case study of PB (Paris Baguette) company, which is the first to build a KMS in the franchise industry. The study was able to confirm the following facts through the analysis of target companies. First, the chief executive's support is a critical success factor and this support can increase the participation of organization members. Second, it is important to build a process and culture that actively creates and leverages information in knowledge management activities. The organizational learning culture should be one where the creation, learning, and sharing of new knowledge is developed continuously. Third, a horizontal network organization is needed in order to make relationships within the organization more close-knit. Fourth, in order to connect the diverse processes such as knowledge acquisition, storage, and utilization of knowledge management activities, information technology (IT) capabilities are essential. Indeed, IT can be a powerful tool for improving the quality of work and maximizing the spread and use of knowledge. However, during the construction of an intranet based KMS, research is required to ensure that the most efficient system is implemented. Finally, proper evaluation and compensation are important success factors. In order to develop knowledge workers, an appropriate program of promotion and compensation should be established. Also, building members' confidence in the benefits of knowledge management should be an ongoing activity. The company developed its original KMS to achieve a flexible and proactive organization, and a new KMS to improve organizational and personal capabilities. The PB case shows that there are differences between participants perceptions and actual performance in managing knowledge; that knowledge management is not a matter of formality but a paradigm that assures the sharing of knowledge; and that IT boosts communication skills, thus creating a mutual relationship to enhance the flow of knowledge and information between people. Knowledge management for building organizational capabilities can be successful when considering its focus and ways to increase its acceptance. This study suggests guidelines for major factors that corporate executives of domestic franchises should consider to improve knowledge management and the higher operating activities that can be used.

• The Journal of Art Theory & Practice
• /
• no.8
• /
• pp.33-58
• /
• 2009

This paper examines four genre paintings on the subject of child education by Jean-Baptiste-Sim${\'{e}}$on Chardin(1699-1779). The Governess, The Diligent Mother, Saying Grace, and The Morning Toilette garnered critical attention after they were exhibited in the Salon from 1739 to 1741. After the exhibition, the paintings were made into prints and frequently sold to members of the bourgeois class in Paris. The iconographical details of Chardin's genre paintings have, thus far, been compared to Dutch genre pictures of the seventeenth century. Further, most studies conducted on Chardin's paintings focus on formal analysis rather than the historical and social contexts. Through attempting social-contextual readings of Chardin's educational series, this paper argues that the significance of Chardin's painting series of child education lies in his representation of the ideal French bourgeois family and the standard of early childhood education in the eighteenth-century French Enlightenment period. In each of the four child education paintings, Chardin depicted a mother with children in a domestic space. Even though this theme derives from traditional Dutch genre paintings in the seventeenth century, the visual motifs, the pictorial atmosphere and the painting techniques of Chardin all project the social culture of eighteenth century France. Each painting in the child education series exemplifies respectively the attire of a French gentlemen, the social view on womanhood and the education of girls, newly established table manners, and the dressing up culture in a 'toilette' in eighteenth century France. Distinct from other educational scenes in previous genre paintings, Chardin accentuated the naive and innocent characteristics of a child and exemplified the mother's warmth toward that child in her tender facial expressions and gesturing. These kinds of expressions illustrate the newly structured standard of education in the French Enlightenment period. Whereas medieval people viewed children as immature and useless, people in the eighteenth century began to recognize children for their more positive features. They compared children to a blank piece of paper (tabula rasa), which signified children's innocence, and suggested that children possess neither good nor bad virtues. This positive perspective on children slowly transformed the pedagogical methods. Teaching manuals instructed governesses and mothers to respect each child's personality rather than be strict and harsh to them. Children were also allotted more playtimes, which explains the display of various toys in the backgrounds of Chardin's series of four paintings. Concurrently, the interior, where this exemplary education was executed, alludes to the virtue of the bourgeois's moderate and thrifty daily life in eighteenth century France. While other contemporary painters preferred to depict the extravagant living space of a French bourgeoisie, Chardin portrayed a rather modest and cozy home interior. In contrast to the highly decorated living space of aristocrats, he presented the realistic, humble domestic space of a bourgeois, filled with modern household objects. In addition, the mother is exceptionally clad in working clothes instead of fashionable dresses of the moment. Fit to take care of household affairs and children, the mother represents the ideal virtues of a bourgeois family. It can be concluded that the four genre paintings of child education by Chardin articulate the new standards of juvenile education in eighteenth century France as well as the highly recognized social virtues between French bourgeois families. Thus, Chardin's series of child education would have functioned as a demonstration of the ideal living standards of the bourgeois class and their emphasis on early childhood education in the French Enlightenment period.

• The Journal of Korean Philosophical History
• /
• no.52
• /
• pp.9-35
• /
• 2017

This article is to study the life and philosophy of Jonjae Gidaeseung, who was at strife with his days and did not negotiate with himself, with focus on two concepts of buron(不穩, unrest) and 'sympathy'. It is the fact that to study the traditional philosopher is likely to be enlightening. In order to prevent the risk, we need to define first the concept of unrest as including anxiety to critical resistance. Also, I would like to propose the concept of sympathy in order to grasp the function of his mind which judges whether his feelings and actions are valid from an emotional horizon of unrest. Methodologically this article is to adopt a transversal and correlative thinking by combining an east Asian Confucian traditional concept unrest with a modern one space. It is because this research is to show a significant meaning when we study highlighted and hidden layers of our life and politics in 'now-here' and the 'between space' even though this transversal and correlative study shows the horizon of his life. This article is to investigate how a case is structured by occurrences and divergences and reinterpret a meaning from an emotional horizon. This process is done centering on two terms Guchatuan(pursuing ease ignobly), and Suwolbingho(moon reflected in the water and ice in a bottle), which is the source of Bingwoldang. The two terms were used by Jonjae himself. The latter shows an opposite meaning from the first and is accordingly a way by which we can look into his life and days. My research of Jonjae's life and politics from the emotional-philosophical level is original in that it reveals emotional traces beyond his philosophical ideas which previous studies did not show. In this article, I showed that Gobong was ambitious and resolute, and definite in his judgment and therefore was not good at controlling his uprightness. Also he was too straightforward to purify a language. His unrest characters made him conflict with old ministers and high ranking officials and therefore they avoided him even thought he was excellent in writing and learning and talented. He was oriented toward living by goodness and right Ways, which is summed up as Gisesa(vague movement, situational advantage, and death).

• Journal of Korean Classical Literature and Education
• /
• no.38
• /
• pp.65-101
• /
• 2018

In the late Joseon Dynasty, patriarchal ideology became central to the family and the clan, and once again became acutely felt with "the familism of clan rules that centered around a legitimate and eldest son." The establishment of the family-clan system, though somewhat complex, was largely aimed at the family line of "a paternalist-a legitimate and eldest son." The trend was not limited to a particular family, but rather, was a historical and social trend. Changseonggameirok showed how to solve the family crisis by setting up a problem for the next generation's patriarch. This paper tries to explain the issue of Hwachun's complex as the legitimate and eldest son complex. First, it suggests that Hwachun's complex is as universal as the Cain complex, also known as the eldest son complex, and that Hwachun's complex is a special instance of the legitimate and eldest son complex in Changseonggameirok. Next this paper studies the aspects of Hwachun's legitimate and eldest son complex combined with Mrs. Sim's complex, as well as her daughter-in-law's complex, and eventually tracks the development of the family-clan complex. As a result, we've come to a new conclusion that the legitimate and eldest son complex was found in Changseonggameirok for the first time in Korean literary history. This paper also examines the fact that when the legitimate and eldest son complex was transferred to Hwajin, it became a family complex that Hwajin had to contend with; this paper tracks the process wherein Hwajin's filial piety solved the legitimate and eldest son complex. As a result, we realized that Hwajin's filial duty and brotherly love went beyond his feelings for Mrs. Sim and Hwachun, and supported the substantiation for "the familism of a clan that is based on rules of the legitimate and eldest son" in the course of public opinion. However the familism of these rules was not embodied in the absolute; in the royal family, for example, it was rather flexibly implemented when the characters admitted to breaking the law. In addition, this paper provides the room for a critical reading of Changseonggameirok, reflecting back on the underlying guilt and psychological pain of the characters who are affected by the particular rules, and concluding that guilt and suffering are fundamentally insoluble. This is because the two ideas, "the legitimate and eldest son complex" and "the familism of a clan rules centered on a legitimate and eldest son" are two sides of the same coin.

• Resources Recycling
• /
• v.28 no.5
• /
• pp.60-67
• /
• 2019

A valuable metal recovery from waste resources such as spent rechargeable secondary batteries is of critical issues because of a sharp increase in the amount of waste resources. In this context, it is necessary to research not only recycling waste lithium-ion batteries (LIBs), but also reusing valuable metals (e.g., Li, Co, Ni, Mn etc.) recovered from waste LIBs. In particular, the lithium hydroxide ($LiOH{\cdot}xH_2O$), which is of precursors that can be prepared by the recovery of Li in waste LIBs, can be reused as a catalyst, a carbon dioxide absorbent, and again as a precursor for cathode materials of LIB. However, most studies of recycling the waste LIBs have been focused on the preparation of lithium carbonate with a recovery of Li. Herein, we show the preparation of high purity lithium hydroxide powder along with the precipitation process, and the systematic study to find an optimum condition is also carried out. The lithium carbonate, which is recovered from waste LIBs, was used as starting materials for synthesis of lithium hydroxide. The optimum precipitation conditions for the preparation of LiOH were found as follows: based on stirring, reaction temperature $90^{\circ}C$, reaction time 3 hr, precursor ratio 1:1. To synthesize uniform and high purity lithium hydroxide, 2-step precipitation process was additionally performed, and consequently, high purity $LiOH{\cdot}xH_2O$ powder was obtained.

• 기호학연구
• /
• no.57
• /
• pp.7-26
• /
• 2018

The purpose of this paper is to interpret the discourse on design thinking through the perspective of Roland Barthes' Mythologies. To this end, this paper will explore the mythologization process of design thinking using the methodological framework of Barthes, which structurally interprets the connotations produced using semiosis. Design thinking originally refers to a method which is used in the process of planning ideas about designs in order to create the final products for professional designs. However, design thinking has recently attracted more interest from the public because it has become known as a tool for solving various problems which exist outside of the field of design, such as social issues, management, and marketing strategies. Barthes points out that myths are used as a tool to deliver ideologies. He also emphasizes the importance of 'structural thinking'. It interprets the inherent connotative meanings more than the denotative meanings, which are explicitly shown. One of the most powerful ideologies which our society embraces today is creativity. Design thinking realizes the manifestation of creativity through a schematized process. This can be explained by considering design thinking as an icon that is specifically turned into a figuration to realize its objectness, in which a discourse for solving issues and social codes meet together and form a mythology. The mythologies that Barthes cites in his book refer to mythical values created by the cultural codes which humans have produced in our modern and contemporary age. The symbolic value of design thinking has become more important than the signifier which design thinking itself presents. This means that design thinking has become a sign that has mythical properties. In other words, the ideology of creativity embodied by design thinking has attained a mythological status, as it produces a new cultural code through innovation. The process of interpreting a phenomenon using the perspective of semiotics is an important tool that allows us to examine the concept of an object and its surroundings thoroughly. This paper attempts to expand the external scope of critical analysis about social phenomena by using the signs which continuously reveal themselves in common ideologies, such as design thinking, which has been gaining more popularity recently.

• The Critical Review of Religion and Culture
• /
• no.31
• /
• pp.255-287
• /
• 2017

This paper analyzes the religious circuit of suicidal concept based on verbal expression and ritual acts, which are found in the suicide discourse of Korean Catholic Church and Protestant Church. In the relationship of suicide and religion, it is easily overlooked the religious circuit and its construction that forms the concept of suicide among the religious laymen. It is assumed that the belief system of traditional religions prohibits suicide and the laymen accordingly construct a perception or concept of suicide along with this belief system. Various studies on this subject have proved it. However, in order to understand the religious way of constructing the concept of suicide on a personal level, it is necessary to pay attention to the religious environment in which the concepts and emotions of suicide circulate. The laymen do not passively and perfectly accept the finely established suicide concept provided by the doctrine or the theology. Rather, the laymen tend to collect the pieces of concept over the suicide that are drifting in the religious environment of his/her daily routine life and to make an concept of suicide in an incomplete form. We can find the unstable and imperfect traits of such a suicide concept through the experience of suicide survivors who have a religious background. For the suicide survivors with religious beliefs, they resist the formal doctrinal and theological provisions to suicide, or try to understand the notion of suicide in their own contexts. In terms of linguistic expressions and ritual acts relating to suicide, the attentions are differently directed in the public and the private domain among the religious groups. Considering on the high rates of suicide in Korean society, the Korean Catholic Churches are increasingly tolerant over the suicide and accept it in the public sphere. It is unlikely when comparing to the negative attitudes of the suicide in the past. However, such tolerance does not go beyond the doctrinal and ethical judgment that defines suicide as a serious sin. The once-committed lay believer's speech and gestures usually contain the various emotions, such as sadness, grief, anxiety, regretfulness, eagerness, and pain in the private spheres. The language and gestures with these emotions have been activated in the religious circuits of suicide, being extended to the religious apparatus for the person who died of suicide. In case of Protestantism, the institutional organizations, such as the particular denominations and the individual-churchism of the Korean Protestant Churches, and their own interpretations of the Bible have in the private sphere strongly effected on the linguistic expressions and the rituals related to the suicide. The religious-ethical judgment of the suicide is varied how the suicide is interpreted by the theologians and the pastors. And the ritual acts for healing the complex feelings and the psychological wounds of the suicide survivors are not actively explored and adopted yet. It makes harder to approach and heal the protestant followers since they emphasize the innermost belief and the salvation assurance faith.

• Korean Journal of Heritage: History & Science
• /
• v.47 no.2
• /
• pp.114-131
• /
• 2014

The Portrait of Yang Zhuxi(楊竹西小像) at the Palace Museum in Beijing holds important significance as one of the rare portraits from Yuan Period and as a painting with a definite year of creation in 1363. It is also noteworthy in that it is the only remaining work of Wang Yi(王繹), who was one of the critical portrait painters during the second half of Yuan Period and the author of Xiexiang Mijue(寫像秘訣), the first book on the portrait theories, that it was created in conjunction with Ni Zan(倪瓚), one of the utmost landscape painters of the times, and that it was an early case of landscape and figure painting-format portraits. The figure in Portrait of Yang Zhuxi was originally known as Yang Wu(楊瑀), a high official during Yuan Period, but it was a misunderstanding on the part of Li Rihua(李日華), a literary figure from Ming Dynasty. The actual model was Yang Qian(楊謙), a reclusive literary figure in the Songjiang(松江) region. Yang Qian is estimated as one of the central figures with a high reputation in the literary community of Jiangnan those days. Portrait of Yang Zhuxi was depicted by borrowing the icon of such hermits as Su Shih(蘇軾), which seems like a proper choice to express Yang Zhuxi, a reclusive literary figure. Furthermore, the rocks and pine trees described by Ni Zan reinforced the significance of the portrait through their traditional symbolism of man of virtue and man of letters, respectively. Portrait of Yang Zhuxi used the Baimiao Manner(白描法), thus being differentiated from other portraits from the same period. Even though there is no coloring in the painting, it boasts more excellent realism than colored portraits. It expressed the body with the graceful and controlled Li Gonglin(李公麟) and Zhao Mengfu(趙孟?) style Baimiao Manner, raising its dignity further. In terms of functions, Portrait of Yang Zhuxi is strongly characterized by the appreciative function unlike other portraits focused on the ceremonial function. Being created to be viewed and appreciated by the model himself and his friends, the portrait was very significant to promote their friendship. However, there was a great intention to reflect the emotions of the model himself and his friends in the painting beyond the simple appreciation level.