• Korean Journal of Applied Biomechanics
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• v.12 no.2
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• pp.159-177
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• 2002

The purpose of this study was to investigate the relations between the segments of the body, the three dimensional anatomical angle and the angular velocity of the air born phase and understand the control mechanism of the high-bar movement, the somersault, the double somersault, the double somersault with full twist. For this study seven well trained university gymnastic volunteered, Zatsiorky and Seluyanov(1983, 1985)'s sixteen segment system anatomical model was used for this study. For the movement analysis three dimensional cinematographical method(Arial Performance Analysis System : APAS) was used and for the calculation of the kinematic variables a self developed program was used with the LabVIEW 5.1 graphical profromming(Johnson, 1999) program. By using Eular's equations the three dimensional anatomical Cardan angles of the joint and angular velocity were defined. As a result of this study 1. As the rotation of the body increased in the air born phase the projection angle of the CM of the total increased, this resulted the increased of the max hight of the CM. 2. In three dimensional angular velocity the Z axis(vertical direction) projection angular velocity increased as the rotation of the body increased in the airborn phase, but the Y axis and the X axis projection angular velocity did not show significant differences. 3. As the rotation of the body increased in the air born phase the angular movement of the shoulder and the hip showed significant change. These movement act as the starter in the preparation phase. 4. The somersault angle, the twist angle, the tilt angle of the upper body related to the global reference frame in the releas phase the average somersault angle of the three types of high-bar movement was $57.7^{\circ}$, $38.8^{\circ}$, $39.7^{\circ}$, the average tilt angle was $-1.5^{\circ}$, $-5.4^{\circ}$, $-8.4^{\circ}$, the average twist angle was $13.4^{\circ}$, $10.6^{\circ}$, $23.3^{\circ}$. This result showed that the somersault with full twist had the largest movement.

• Journal of Animal Environmental Science
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• v.10 no.3
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• pp.155-162
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• 2004

The livestock liquid manure is one of important source for production of friendly environmental crops and have been used widespreadly in recent years. This survey is to eventually investigate the actual conditions of liquid manure utilization for cultivation of crops in the agricultural farm, based on the survey for 61 selected farms in 8 provinces(except Jeju province) included 22 counties in Korea. The results obtained in this survey were summarized as follow; $72.1\%$ of liquid manure storage tank(44) was located in the farmland and $27.9\%$(17) was in the fm. Most of liquid manure tank volume and material were 200 M/T($67.2\%$) and Polyethylene Double Frame panel($44.3\%$). The pro-portions of liquid manure application land were $45.9\%$ for rice paddy, $36.1\%$ for dry field, $16.4\%$ for orchard and $1.6\%$ for other, respectively. The controversial points of liquid manure utilization were malodor($60.7\%$), equipment possession($22.9\%$), no problem($13.1\%$) and farmland possession ($2.3\%$), respectively.

• Journal of the Korean Wood Science and Technology
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• v.27 no.1
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• pp.88-104
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• 1999

This study was carried out to classify the Hanjis into three groups that were indigenous Hanji, traditional Hanji, and improved Hanji handmade by paper making method according to the physical properties of each paper sheet such as tensile, bursting and tearing strength, folding endurance and fiber orientation in each layer. The results obtained were summarized as follows: 1. The multi-layered Hanjis made by "Oebal" Hanji making method in different direction of fiber orientation have good properties in tearing resistance. 2. The multi-layered Hanji in different direction of fiber orientation has good properties in the tearing resistance, but the burst index and the breaking length results were lower than the single layered Hanjis. 3. The different fiber orientation and multi-layered method didn't increase, the three indexes(burst index, tear index, breaking length). Only, the different direction of fiber orientation decreased the difference of width and length strength (tensile, tear) of the Hanji. 4. "Dochim"(Korean finishing touch process for indigenous Hanji by fulling round sticks) greatly increase folding endurance(double folds, not $log_{10}$) and good effect to tensile strength and burst strength. 5. The today's Oebal Hanji were the maximum of 2 layers and the indigenous Oebal Hanji were 16 layers the maximum. In addition, average of the indigenous Oebal Hanji was 4 layers(all 4-layer Hanji were the different fiber orientation of each layer). 6, The indigenous Hanji(multi-layered, and different fiber orientation) was good condition with "Dochim". Dochim increased tensile strength and burst strength of the indigenous Hanji. So the three-strength indexes were similar level("--"). 7. When the number of layer which were same fiber orientation increase, the increased Hanji became similar strength pattern("V", breaking length and burst index was higher than tear index) with "Ssangbal" Hanji. 8. The single layered papers that made by "Oebal" Hanji making method were similar strength pattern with Ssangbal Hanji. 9. There was no way to find the width and length direction of multi-layered Hanji by comparison between the difference of tensile strength and the difference of tearing resistance. 10. The compared pattern of tensile strength and tearing resistance of indigenous Oebal Hanji was different from today's Oebal Hanji. Especially, the tearing resistance of all indigenous Oebal Hanji(16 samples) was stronger on width of tearing resistance. And in the half of indigenous Oebal Hanji samples, the width of tensile strength and tearing resistance was stronger than length strength (Indigenous Oebal: '$\ulcorner\lrcorner$' 50%, '$\bigcup$' 50% $\leftrightarrow$ Today's Oebal: '$\ulcorner\lrcorner$' 12%, '$\bigcup$'6%, '$\llcorner\urcorner$'17%, '$\bigcap$'65%). In 65% today's Oebal, the length direction of tensile strength and tearing resistance was stronger than the width direction.

• Journal of Bio-Environment Control
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• v.9 no.3
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• pp.161-165
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• 2000

Spectroradiometric light transmittance from 300 to 1,100nm in the greenhouse covered with the CEM BIO polyethylene film was greater than that in the greenhouse covered with polyethylene film (control). As a whole, solar radiation transmittance into greenhouse was a half level, due to shades caused by double layer covering, frame and equipment. Net radiation energy emitted throughout surface of the greenhouse covered with CEM BIO polyethylene film was 5,424.5W.m$^{-2}$ , which was lower by 2.9% as compared to that of the greenhouse covered with polyethylene film. Photosynthetically active radiation from 400 to 700nm of the greenhouse covered with CEM BIO polyethylene film was 3,861.2W.m$^{-2}$ , which was higher by 3.8% as compared to hat of the greenhouse covered with polyethylene film. Accumulated minimum air temperature from Oct. 7, 1997 to Oct. 16, 1997 of the greenhouse covered with CEM BIO polyethylene film was 100.5$^{\circ}C$, which was higher by 2.5$^{\circ}C$ as compared to that of the greenhouse covered with polyethylene film. As results, height, stem diameter, leaf count, leaf area, fresh weight and dry weight of green pepper plants and canopy production structure measured at 30 days after transplanting were enhanced. Mean fruit weight n the greenhouse covered with CEM BIO polyethylene film was 11.28 g and 1.25 g greater as compared to that in the greenhouse covered with polyethylene film, due to increased fruit diameter and flesh thickness. Percent marketable fruits produced in the greenhouse covered with CEM BIO polyethylene film were 96.1%, and was greater by 2.7% thant that of the greenhouse covered with polyethylnee film due to decreased infection, sterility, severe curve and twisted fruits. The green pepper yield of the greenhouse covered with CEM BIO polyethylene film from Nov. 19, 1997 to Feb. 3, 1998 was greater by 974 kg per hectare than that of the greenhouse covered with polyethylene film, but the total fruit had no difference.

• (The) Research of the performance art and culture
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• no.43
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• pp.5-46
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• 2021

The film Moranbong is the product of a trip to North Korea in 1958, when Armangati, Chris Marker, Claude Lantzmann, Francis Lemarck and Jean-Claude Bonardo left at the invitation of Joseon Film. However, for political reasons, the film was not immediately released, and it was not until 2010 that it was rediscovered and received attention. The movie consists of the narratives of Young-ran and Dong-il, set in the Korean War, that are folded into the narratives of Chunhyang and Mongryong in the classic Chunhyangjeon of Joseon. At this time, Joseon's classics are reproduced in the form of the drama Chunhyangjeon, which shares the time zone with the two main characters, and the two narratives are covered in a total of six scenes. There are two layers of middle-story frames in the movie, and if the same narrative is set in North Korea in the 1950s, there is an epic produced by the producers and actors of the Changgeuk Chunhyangjeon and the Changgeuk Chunhyangjeon as a complete work. In the outermost frame of the movie, Dong-il is the main character, but in the inner double frame, Young-ran, who is an actor growing up with the Changgeuk Chunhyangjeon and a character in the Changgeuk Chunhyangjeon, is the center. The following three OST albums are Corée Moranbong released in France in 1960, Musique de corée released in 1970, and 朝鮮の伝統音樂-唱劇 「春香伝」と伝統樂器- released in 1968 in Japan. While Corée Moranbong consists only of the music from the film Moranbong, the two subsequent albums included additional songs collected and recorded by Pyongyang National Broadcasting System. However, there is no information about the movie Moranbong on the album released in Japan. Under the circumstances, it is highly likely that the author of the record label or music commentary has not confirmed the existence of the movie Moranbong, and may have intentionally excluded related contents due to the background of the film's ban on its release. The results of analyzing the detailed scenes of the Changgeuk Chunhyangjeon, Farewell Song, Sipjang-ga, Chundangsigwa, Bakseokti and Prison Song in the movie Moranbong or OST album in the 1950s are as follows. First, the process of establishing the North Korean Changgeuk Chunhyangjeon in the 1950s was confirmed. The play, compiled in 1955 through the Joseon Changgeuk Collection, was settled in the form of a Changgeuk that can be performed in the late 1950s by the Changgeuk Chunhyangjeon between 1956 and 1958. Since the 1960s, Chunhyangjeon has no longer been performed as a traditional pansori-style Changgeuk, so the film Moranbong and the album Corée moranbong are almost the last records to capture the Changgeuk Chunhyangjeon and its music. Second, we confirmed the responses of the actors to the controversy over Takseong in the North Korean creative world in the 1950s. Until 1959, there was a voice of criticism surrounding Takseong and a voice of advocacy that it was also a national characteristic. Shin Woo-sun, who almost eliminated Takseong with clear and high-pitched phrases, air man who changed according to the situation, who chose Takseong but did not actively remove Takseong, Lim So-hyang, who tried to maintain his own tone while accepting some of modern vocalization. Although Cho Sang-sun and Lim So-hyang were also guaranteed roles to continue their voices, the selection/exclusion patterns in the movie Moranbong were linked to the Takseong removal guidelines required by North Korean musicians in the name of Dang and People in the 1950s. Second, Changgeuk actors' response to the controversy over the turbidity of the North Korean Changgeuk community in the 1950s was confirmed. Until 1959, there were voices of criticism and support surrounding Taksung in North Korea. Shin Woo-sun, who showed consistent performance in removing turbidity with clear, high-pitched vocal sounds, Gong Gi-nam, who did not actively remove turbidity depending on the situation, Cho Sang-sun, who accepted some of the vocalization required by the party, while maintaining his original tone. On the other hand, Cho Sang-seon and Lim So-hyang were guaranteed roles to continue their sounds, but the selection/exclusion patterns of Moranbong was independently linked to the guidelines for removing turbidity that the Gugak musicians who crossed to North Korea had been asked for.