• Journal of Korean Historical Folklife
• /
• no.45
• /
• pp.263-289
• /
• 2014

King Munjong(文宗), the eleventh King of the Goryeo Dynasty, was the son of King Hyeonjong(顯宗), the eighth king, and the younger stepbrother(異母弟) of King Jeongjong(靖宗), the 10th king. Although King Jeongjong had four sons, he abdicated the throne to King Munjong. King Taejo(太祖) had opened the possibility for sons other than the eldest son to succeed to the throne. When King Jeongjong died, his sons were children under the age of 10 years. In the early period of the Goryeo Dynasty, when kings had young sons, there were precedents of abdicating the throne to their grown-up younger brothers. In addition, King Jeongjong and Munjong had an identical blood background. During the period, Goryeo people also naturally accepted the fact that a former king's younger brother succeeded to the throne. In this background, King Munjong ascended the throne. However, King Munjong did not ascend the throne after identifying state affairs with politic power. Therefore, he needed to increase his authority as the king. Moreover, as the sons of King Jeongjong had grown up, they could stir up trouble in future succession to the throne. Therefore, King Munjong intended to concentrate power on himself and remove trouble in future succession to the throne by selecting his son as successor to the throne. After the installation of Wangtaeja(王太子, the Crown Prince), King Munjong expanded and organized Donggunggwan(東宮官, the establishment of Secretariat of Wangtaeja) and carried out various rituals related to Wangtaeja. The control system for Donggunggwan was completed institutionally in 1068. At this time, the newly organized Donggunggwan was operated as a miniature version of the central government office. In addition, the ritual for the installation of Taeja, which was held in 1054, complied with regulated procedures. After the ritual of the installation, a ceremony to congratulate on Jangheungjeol(長興節, the birthday of Wangtaeja) was held in 1056. In 1064, the wedding ritual of Taeja took place, and the ritual for Taeja regulated in Yeji(禮志) of "Goryeosa(高麗史)" was carried out. In addition, the installation of Wangtaeja was made known overseas, and the Taeja of Goryeo was proclaimed by the Kitan three times. Such various measures played an important role in strengthening the status of Taeja as the man of authority next to the king. Later, Taeja demonstrated his status as the man of authority following the king by participating in state affairs on behalf of King Munjong who was not able to move about freely in his later years.

• Journal of agriculture & life science
• /
• v.44 no.6
• /
• pp.91-99
• /
• 2010

We used a multiplex PCR primer set composed of 11 microsatellite (MS) markers and two sexing markers for gender detection. Genomic DNA extracted from hair roots of 3,510 Hanwoo were genotyped. Based on the 11MS markers, no animals had identical genotypes(TGLA227, BM2113, TGLA53, ETF10, SPS115, TGLA122, ETH3, ETH225, BM1824 and INRA23). The expected probability of identity among genotypes of random individuals (PI), the probability of identity among genotypes from random half-sibs ($PI_{half-sibs}$) and among genotypes of random individuals, and the probability of identity among genotypes from random sibs ($PI_{sibs}$) were estimated as $1.31{\times}10^{-23}$, $2.52{\times}10^{-16}$and $1.09{\times}10^{-6}$, respectively using the API-CALC program, version 1.0. We successfully completed the genotype analysis of 3,510 Hanwoo with a 3.93% genotyping failure rate. It was revealed that extracting DNA from the hair root was a time-efficient and cost-effective method to collect specimens for DNA isolation from live animals. This method also minimized stress for the animals during specimen collection. Among the hair roots from the back, belly, upper tail and lower tail, 5~13 hair roots of the lower tail led to the best genotype analysis results. Finally, we established a 96-well-format method of DNA preparation applicable for high- throughput genotype analysis.

• Journal of Korea Water Resources Association
• /
• v.52 no.11
• /
• pp.917-929
• /
• 2019

Denitrification in streams is of great importance because it is essential for amelioration of water quality and accurate estimation of $N_2O$ budgets. Denitrification is a major biological source or sink of $N_2O$, an important greenhouse gas, which is a multi-step respiratory process that converts nitrate ($NO_3{^-}$) to gaseous forms of nitrogen ($N_2$ or $N_2O$). In aquatic ecosystems, the complex interactions of water flooding condition, substrate supply, hydrodynamic and biogeochemical properties modulate the extent of multi-step reactions required for $N_2O$ flux. Although water flow in streambed and residence time affect reaction output, effects of a complex interaction of hydrodynamic, geomorphology and biogeochemical controls on the magnitude of denitrification in streams are still illusive. In this work, we built a two-dimensional water flow channel and measured $N_2O$ flux from channel sediment with different bed geomorphology by using static closed chambers. Two independent experiments were conducted with identical flume and geomorphology but sediment with differences in dissolved organic carbon (DOC). The experiment flume was a circulation channel through which the effluent flows back, and the size of it was $37m{\times}1.2m{\times}1m$. Five days before the experiment began, urea fertilizer (46% N) was added to sediment with the rate of $0.5kg\;N/m^2$. A sand dune (1 m length and 0.15 m height) was made at the middle of channel to simulate variations in microtopography. In high- DOC experiment, $N_2O$ flux increases in the direction of flow, while the highest flux ($14.6{\pm}8.40{\mu}g\;N_2O-N/m^2\;hr$) was measured in the slope on the back side of the sand dune. followed by decreases afterward. In contrast, low DOC sediment did not show the geomorphological variations. We found that even though topographic variation influenced $N_2O$ flux and chemical properties, this effect is highly constrained by carbon availability.

• The Journal of Korean Society for Radiation Therapy
• /
• v.30 no.1_2
• /
• pp.41-47
• /
• 2018

Purpose : The purpose of this study is to evaluate the usefulness of 6 Dimensional Skull Tracking(6DST) in Cyberknife Stereotactic Body Radiation Therapy(SBRT) for the first and second cervical vertebrae(C1 and C2) metastasis. Methode and material : The Computed Tomography (Lightspeed VCT 64, General Electric Co. Waukesha, WI, USA) was used to acquire the CT images of the 9 patients with cervical vertebrae(C1 and C2) metastasis. Treatment plans for Xsight spine tracking and 6 Dimensional skull tracking were established with planning system (Multiplan system Version 4.6, Accuray, US). The results of XST and 6DST for each patient were analyzed with Microsoft Excel 2010. Result : The Maximum offsets of XST for C1 were 0.9 mm in Y(supero-inferior), 0.9 mm in Z(antero-posterior), 0.7 mm in X(left-right) direction, and rotations were and 1.0 degrees roll, 1.0 degrees pitch and 1.2 degrees yaw. The Maximum offsets of 6DST for C1 were 0.7 mm, 0.7 mm, 0.9 mm and $1.0^{\circ}$, $1.0^{\circ}$, $1.2^{\circ}$ for Y, Z, X and Roll, Pitch, Yaw. The Maximum offsets of XST and 6DST for C2 were 0.7 mm, 0.7 mm, 0.8 mm and $0.9^{\circ}$, $1.0^{\circ}$, $1.8^{\circ}$, and 0.9 mm, 0.7 mm, 0.9 mm and $0.9^{\circ}$, $0.9^{\circ}$, $1.0^{\circ}$ for Y, Z, X and Roll, Pitch, Yaw, respectively. Conclusion : XST and 6DST showed identical results for translations and rotations within the tolerance. It is possible to simplify the treatment time and procedure by using the 6DST. Therefore, 6DST is very useful methode with XST among the various tracking methods in Cyberknife for the patients with C1, C2 vertebral metastasis.

• (The) Research of the performance art and culture
• /
• no.37
• /
• pp.391-435
• /
• 2018

This is the first study in Musicology that discusses the features of Kangwon Sangkangrye(the pre-lecture ritual in Buddhism). In this thesis, I reviewed and compared the similarity and uniqueness between Kangwon Sangkangrye in "Seokmunuibom" and the one being performed these days. The musical relation between the performance shown in the historical record and the one in contemporary ritual was illustrated here based on the findings derived from the anlaysis on its bell(小鐘) performance. The analysis made upon musical sources recorded on-site shows the characteristics of contemporary Kangwon Sangkangrye. Following is a brief summary of this study. The review and comparison between Kangwon Sangkangrae in "Seokmunuibom" and the one being performed these days showed that the second type, which was significantly different from the first type, was closer to that of the historical record. The performers at Unmunsa Temple and Chungamsa Temple seemed to be following the tradition bell(小鐘) performance style which was found in the text of the historical record. Through the analysis on Kangwon Sangkangrae, I found that it has musical characteristics as follows. The vocal range of type 1 and type 2 was mostly performed within Minor 7th and didn't exceed the perfect 8th. The melodic structure of type 1 starts with do'-la of naedeureum and ended with the melody which downscaled from do' and finalized from mi to la. Usually the mode was in menari-tori but at some lecture halls a few cases found to be upscaled from sol to la which differentiates it from the typical menari-tori of folk songs. Like the typical way of traditional rites, the singing was divided into two parts: the leading call and the following choral response. Most were sung to be one syllable on one or two tones or one syllable lasting for several tones and the musical forms were varied by musical pieces. Meantime, Sangkangrae at Haeinsa Temple was differed from that of the other temples in terms of ritual procedure and vocal style. It added Korean version of and the lead vocal skipped the first phrase of the Sasul. The melodic structure of Type 2 started with do'-la of naedeureum and was finalized as the same way of Type 1. The mode of was not the same as typical menari-tori but the Jeongrye(prostration) and Balweon(a great vow) were identical to the menari-tori of folk songs. The singing was done in two forms, solo and unison, and the lyric-attachment of Gesong was one syllable for one or two tones and that of Jeongrye and Balweon were one syllable for one or two tones + one syllable for several tones. The musical form of Jeongrye is A-B-C and A-C. Balweon didn't display a certain periodicity but still maintained sense of unity and formality through repetition of the finalizing melody.

• (The) Research of the performance art and culture
• /
• no.20
• /
• pp.339-367
• /
• 2010

Despite that it is relatively difficult to compare the movements in eastern and western dancing, this study approached hand-foot coordination movements, which involve lifting both an arm and a leg to stand on one foot, from a figurative point of view. In ballet, arabesque, developpe, and attitude were recognized as the example hand-foot coordination movements, and in Korean Dance, Oesawi, Gyeopsawi, and Meongseokmari of Mask Dance were classified into the hand-foot coordination movements. The figurative characteristics of these dances were approached from the aspects of racial traits, philosophies of dancing, and forms of movements. The following summarizes the findings about hand-foot coordination movements of this study. First, in relation to human physiology, eastern and western races have different traits. The forms of dancing have developed differently according to the builds and figures of dancers. Ballet is an elegant form of dancing using long legs and arms and its arabesque, developpe, and attitude movements emphasize stretching the body for an elegant and beautiful presentation. On the other hand, Korea was an agricultural society and lived closer to the land. As its people developed petite figures, its dancing movements, especially the hand-foot coordination movements, involved 'twisting' and 'walking down and up.' Second, despite that the hand-foot coordination movements are identical for east and west, ballet aims at the heaven and Korean Dance aims at the land according to the differences in the views of nature. Although the principle of hand-foot coordination movements is about aiming at the land, western philosophies and aesthetics pursue the heaven. Third, in ballet, the focus of beauty is the presentation of beautiful movements. Therefore, the hand-foot coordination movements precisely control the position and angle of arms and legs for the perfect balance of the body. On the other hand, the hand-foot coordination movements of Korean Dance are mostly rooted from natural daily movements and movements that enhance the efficiency of labor. Therefore, it is considered beautiful techniques even if the body looks rather unbalanced.

• Korean Journal of Heritage: History & Science
• /
• v.52 no.1
• /
• pp.120-147
• /
• 2019

In this study, we divided the portraits in the reign of King Seonjo into those which were created before and after the Japanese invasion. We then examined various aspect of costumes expressed in the portraits of meritorious vassals. To analyze official uniforms (Heuk-Danryeung), we examined the Samo height; the side wings' type and pattern; the Danryeung pattern; the Mu style; the processing method of lateral lines in Danryeung the rank badge and rank belt, the color of Dabho and Cheolrik, which were undergarment of Danryeung and Heuk-wa. The meritorious vassals' portraits, prior to Imran, were analyzed with a portrait of Han Eung-in, a Gwang-kuk Pyeong-nan meritorious vassals. The Samo was the highest of the Choson dynasties, and the cloud and treasure pattern was identified on the side wings. The Heuk-Danryeung was a dark blue(acheongsaeg) Danryeung of manja-shaped cloud patterns with a large outward wrinkled Mu, and it had a wild goose badge (second rank) and a Sabgeumdae. It did not coincide with the Pumgye(Jaheondaebu) recorded in Gugjo-inmulgo. Reddish Dabho for Dangsang-kwan, green Cheolrik which was undergarment of Danryeung, and Heuk-wa. were identified. After the invasion of Japan, portraits of Hoseong, Seonmu, and Cheong-nan meritorious vassals were analyzed through eighteen portraits, including Lee Hyeon-bok. After the invasion of the Japanese, the height of the Samo's top was much lower and the width of the side wings was wider than before the invasion of Japanese. The Heuk-Danryeung was a dark blue (acheongsaeg) Danryeung of manja-shaped cloud patterns with a stretching backward Mu. Rank badge and rank belts were almost identical with the record, but there were two exceptions (Sin-jab and Kim, Sae-sin). Therefore, it was reaffirmed that the meritorious vassals' portraits were drawn by the Pumgye at the time of appointment. Among the undergarments of Heuk-Danryeung, green Dabho(11), blue Dabho(4), reddish Dabho(3), and blue Cheolrik(10), green Cheolrik(6), reddish Cheolrik(1), and yucheongsaeg Cheolrik(1) were identified, However, it is suggested that the Dabho of Hoseong, Seonmu, and Cheong-nan meritorious vassals should be the reddish Dabho of Dangsang-kwan, which is the same as the previous Imran, and a green Cheolrik.

• Journal of the Geological Society of Korea
• /
• v.54 no.5
• /
• pp.489-499
• /
• 2018

A series of geological events such as the formation of the Antarctic continental ice sheets, the changes in ocean circulation and a mass extinction after the onset of Oligocene has been studied as major concerns by various researches. However, paleoclimatic and paleoceanographic changes during the most period of Oligocene since the Eocene-Oligocene transition (EOT) still remains unclear. Especially, although the late Oligocene warming (LOW) has been assessed as the largest period in the paleoceanographic changes, the detailed understanding on the changed components is very low. The purpose of this study is the reconstruction of the paleoceanographic history during the late Oligocene using core sediments from IODP Expedition 342 Site U1406 performed in J-Anomaly Ridge in North Atlantic. Because North Atlantic deep water (NADW) has flowed southward through the study area since the early Oligocene, this area has been considered to an important location for studies on the changes of NADW. The core sediment analyzed in this study were deposited from about 26.0 to 26.5 Ma as evidenced by both of onboard and shore-based paleomagnetic data, and this is corresponded to the earliest period of LOW. The sediment profile can be divided into three Units (Unit 1, 2 & 3) based on the changes in both of total number and test size of Oridorsalis umbonatus as well as grain size data of clastic sediments. Unit 2 represents largest values in these three data. Because the total number, test size of O. umbonatus and grain size can be proxy records on the oxygen concentration and circulation intensity of deep water, we interpreted that Unit 2 had been deposited during the period of relatively strengthened NADW. Previous Cibicidoides spp. stable isotope results from the low latitude region of the North Atlantic also support our interpretation that is the intensified formation of NADW during the identical period. In conclusion, our results present a new evidence for the previous ideas that the causes on LOW are directly related to the changes in NADW.

• 기호학연구
• /
• no.57
• /
• pp.121-153
• /
• 2018

In terms of the story told, we see that Oh! Soojung(Virgin Stripped Bare by Her Bachelors) is a film of the ideololgy of masculinity. However, from the point of view of the manner of presenting story, Oh! Soojung is a film that aims to devalue this ideology. How will it be possible? This is the principle of the irony that the speaker, by saying P, wants to make Q listen that devalues and contradicts P. Our study is tempted to explain the process of interpreting the irony in the film. The ideology of the film occurs when the presupposed contents have become the subject. For example Cendrion who tells a story of a girl married to a prince presupposes that the girl, Cendrion, is obedient. The subject of this story is that the presupposition: /the girls who want to be happy must be obedient/, which represents the ideology of masculinity. Presupposed content thus imposes on the public a collective and conservative value, as its enunciator belongs to the collective voice. Since ironisation occurs when the utterance itself is annulled, one must also deny or cancel the story told of Oh! Soojng: /Jeahun who is rich and Soojung who is obedient and virgin have become lovers/. Since there is no semantic mark within the utterance, irony is a voice that comes from without; this is how we understand irony in a purely pragmatic way. The outer voices are two things: the way to build the story: question of focusing, ocularization and auricularization, and the way to present the story: question the order, the frequency or the plot. Our study is focused on the question of frequency at Oh! Soojung which has a repetition structure in which the memory of Jeahun and that of Soojung are represented one after the other. Since the memories of two characters are not identical, the repetition is accompanied by differences. The differences at first allow the public to build their own story from the di?g?se of the film and then make the audience fall into confusion where we can not be certain of what we see and know in the di?g?se of the film, and finally make their knowledge questionable. About repetition, so that it can have validity in terms of the informativeness of the utterance, it must deny the existence of the previous repetition. This is how repetition cancels itself and consequently the utterance. We see that the irony of Oh! Soojung occurs by repetition with differences that cancels the story of the film.

• Korean Journal of Heritage: History & Science
• /
• v.46 no.4
• /
• pp.4-23
• /
• 2013

Songsalli Ancient Tombs of Gongju consists of seven tombs. King Muryeong's tomb, the seventh tomb, is a brick chamber tomb discovered during the drainage works for the fifth and the sixth tombs in 1971. The excavation at the time focused on topographic surveys of the tomb entrance and the inside of the burial chamber as well as collection of the remains. The burial mount survey confirmed the status of some stone slab remaining and lime-mixed soil layers, but the survey did not examine the exterior structure of the whole tomb as the mounds were removed even more deeply. The excavation revealed damages to the bricks and mural damages due to moisture and fungus in the sixth and the seventh tombs. Between 1996 and 1997, Gongju National University conducted a comprehensive detailed survey of Songsalli Ancient Tombs including a geophysical survey, with an aim to identify the root causes of such degradation. Based on the results, repair took place in 1999 and the fifth, sixth and seventh tombs were placed under permanent conservation to conserve the cultural assets. General public is currently denied access. The purpose of this study was to conduct a three-dimensional resistivity and GPR surveys on the ground surface of the fifth, sixth and seventh tombs of Songsalli Ancient Tombs in order to understand the underground status after repair. The study also aimed to understand the thickness of all the tomb walls and exterior structure based on GPR inside King Muryeong's tomb. The exploration on the ground surface found that the three tombs and soil adjacent to the tombs had resistivity as low as 5 to $90{\Omega}m$, which confirmed that the soil water content was still as high as that prior to the repair work. Additionally, GPR found that the wall construction of the burial chamber of King Muryeong's tomb was approximately 70cm in thickness, while the structure was of 2B with two bricks, about 35cm in length, put together longitudinally(2B brick masonry). The pathway to the burial chamber was of the 2B structure just like that of the burial chamber walls, while its thickness was 80cm with an eyebrow-type arch connected to it. Also, the ceiling exterior appears to have an arch structure, identical to the shape inside.