• Journal of The Korean Society of Grassland and Forage Science
• /
• v.43 no.1
• /
• pp.28-34
• /
• 2023

This experiment was carried out to determine effects of seed rate of native grasses, called native summer forage crops (NSFC), on their growth characteristics and yields in no-tillage paddy fields in central provinces. NSFC cultivation was performed according to the agricultural guidelines of the Rural Development Administration (RDA) during 2020 to 2022. Echinochloa crusgalli 'Jeju native', Setaria viridis 'Korean native type', Digitaria sanguinalis 'Korean native type') were sown by various seed rate in the experimental field (3m × 4m plot) of Department of Animal Resources Development, Seonghwan-eup, Cheonan, Korea in late-May or early-June for 3 years and harvested in middle-September. Dry matter yields (DMY) in Echinochloa crusgalli and Setaria viridis increased as increasing seed rate. DMY in 40 kg ha^-1 of Echinochloa crusgalli was the highest and DMY in 60 kg ha^-1 of Setaria viridis was the highest. However, All treatments of Digitaria sanguinalis showed similar DMY. Yields of NSFC were the order of Echinochloa crusgalli (9,681~11,092 kg ha^-1) > Digitaria sanguinalis (8,311~9,023 kg ha^-1) >etaria viridis (3,145~4,749 kg ha^-1). The contents of crude protein in NSFC were the order of Digitaria sanguinalis > Echinochloa crusgalli > Setaria viridis. The contents of ADF and NDF in NSFC were the order of Echinochloa crusgalli > Digitaria sanguinalis > Setaria viridis. As shown in above results, we suggest that introduction of NSFC is one of the most important skills in order to stably increase yields of forage crops for utilization of the double cropping system in no-tillage paddy fields.

• Journal of The Korean Society of Grassland and Forage Science
• /
• v.43 no.1
• /
• pp.22-27
• /
• 2023

This experiment was conducted to confirm the possibility of preparing Sorghum×sudangrass hybrid artificial hay using far-infrared rays in Korea. The machine used in this experiment is a drying device based on far-infrared rays, and is designed to control temperature, air flow rate, far-infrared radiation amount, and air flow speed. The Sorghum×sudangrass hybrids harvested in late September were wilted in the field for one day, and a drying test was performed on them. Conditions for drying were performed by selecting a total of 7 conditions, and each condition induced a change in radiation amount in a single condition (42%) and two steps (4 treatments) and three steps (2 treatments). The speed of the air flow in the device was fixed at 60 m/s, and the run time was changed to 30, 60, and 90 minutes. The average dry matter (DM) content was 82.84%. The DM content was 59.94 and 76.91%, respectively, in drying conditions 1 and 3, which were not suitable for hay. In terms of drying rate, it was significantly higher than 80% in the 5, 6 and 7 treatment, and power consumption was slightly high with an average of 5.7 kw/h. As for the feed value according to each drying condition, the crude protein (CP) content increased as the drying time increased, and there was no significant difference between treatments in ADF, NDF, IVDMD and TDN content. In terms of RFV, treatment 1, which is a single condition, was significantly lower than the complex condition. Through the above results, it was determined that the drying conditions 4 and 5 were the most advantageous when considering the drying speed, power consumption, and quality.

• East European & Balkan Studies
• /
• v.35
• /
• pp.153-186
• /
• 2013

Literature has been special for the Polish who suffered from the numerous invasions from surrounding countries for her geographical location at the center of Europe. In the late 18th century at a time when Poland was divided and ruled by Russia, Prussia and Austria, literature played an important role in uniting Poland. During the 2nd world war in which Poland was occupied by the Soviet Union and by Germany, and during the Cold War period under socialism system(1948~1989), the Polish literature was in the front to keep unique national culture with overseas migration community at the center. The Polish Diaspora literature from 19th century up to now has naturally embodied national sufferings from foreign powers in their literary tradition linked to the problem of 'migration'. In addition, they belong to other cultural sphere, but keep their own unique identity, which is similar to Korean Diaspora literature to a great degree. This study has two stages. In the first stage, it figures out the formation and trend of the Polish Diaspora literature followed by their meaning in the history of Polish literature. In the second stage, specific texts (two dramas) are analyzed before and after system transition in 1989. * Before system transition: S. Mrożek, Emigranci (1974), * After system transition: J. Głowacki, Antygona w Nowym Yorku (1992) Mrożek and Głowacki had themselves migration experiences with high achievement and recognition in literature not only in Poland but also in the world. In their works, hardships as 'strangers' in foreign countries, emotional wandering and agony, nostalgia to lost home land and exploration of identity were described vividly. By comparing the 2 literature texts, this study attempts to trace the change of Diaspora consciousness which Polish migrants experienced in foreign countries with different political system like socialism and capitalism.

• Journal of Popular Narrative
• /
• v.25 no.3
• /
• pp.211-266
• /
• 2019

Films of the 1960s in both Korea and Egypt share many common characteristics. These include the main trend of such films' in addition to some of the political situations. This trend mainly relates to the adaptation of novels into films. In the late 1940s, Andre Bazin wrote his ideas about a similar phenomenon in Europe and the United States. Based on Bazin's thoughts and other examples for films adapted from novels in the 1940-60s, I found that the trend in both Korea and Egypt can be explained as an international phenomenon, in which film developed to a further stage due to a dialectic between content and form after the increase in the development of film techniques. The trend in Korea is believed to have led to the so-called golden era of Korean movies, while in Egypt films adapted from literature were not able to earn high profits, even though in a 1996 list of the best 100 Egyptian films, 23 had been adapted from novels. To explain the reasons behind this phenomenon, I looked into the internal demand from filmmakers themselves to further develop the industry through the articles written at that time. In addition, I explored the different situations and policies that influenced film production in both countries in the 1960s. I found that political situations and policies could have helped in the continuity of such trend, but it is difficult to consider these as the main reason for its creation, in contrast to the internal demand, which I believe is the main reason for the creation of such direction.

• Korea Science and Art Forum
• /
• v.21
• /
• pp.31-43
• /
• 2015

Information and Communications Technology (ICT) is one of the technologies which represent the core value of the creative economy. It has served as a vehicle connecting the existing industry and corporate infrastructure, developing existing products and services and creating new products and services. In addition to the ICT, new devices including big data, mobile gadgets and wearable products are gaining a great attention sending an expectation for a new market-pioneering. Further, Internet of Things (IoT) is helping solidify the ICT-based social development connecting human-to-human, human-to-things and things-to-things. This means that the manufacturing-based hardware development needs to be achieved simultaneously with software development through convergence. The essential element the convergence between hardware and software is OS, for which world's leading companies such as Google and Apple have launched an intense development recognizing the importance of software. Against this backdrop, the status-quo of the software market has been examined for the study of the present report (Korea Evaluation Institute of Industrial Technology: Professional Design Technology Development Project). As a result, the software platform-based Google's android and Apple's iOS are dominant in the global market and late comers are trying to enter the market through various pathways by releasing web-based OS and similar OS to provide a new paradigm to the market. The present study is aimed at finding the way to utilize a smart content by which anyone can be a developer based on OS responding to such as social change, newly defining a smart content to be universally utilized and analyzing the market to deal with a rapid market change. The study method, scope and details are as follows: Literature investigation, Analysis on the app market according to a smart classification system, Trend analysis on the current content market, Identification of five common trends through comparison among the universal definition of smart content, the status-quo of application represented in the app market and content market situation. In conclusion, the smart content market is independent but is expected to develop in the form of a single organic body being connected each other. Therefore, the further classification system and development focus should be made in a way to see the area from multiple perspectives including a social point of view in terms of the existing technology, culture, business and consumers.

• Korean Journal of Heritage: History & Science
• /
• v.55 no.4
• /
• pp.96-116
• /
• 2022

The Daebodan was an altar, which held a memorial service for emperors of the Ming dynasty. This alter, which was referred to as Hwangdan, was first constructed in 1704. When the Japanese Invasion of Korea commenced in 1592, Shinjong, the emperor of the Ming dynasty, sent reinforcements to Josun to help. This alter was made to repay Shinjong's kindness. Before this, Song-siyeol(宋時烈), Leader of Noron(老論), made a shrine at Hwayangdong to hold memorial services for Shinjong, and after some time, this developed into a national ceremony. Construction of the Daebodan largely changed the backyard of Changdukgung-palace. However considering the construction process, the meaning of the Daebodan was not a big deal. At first, the optimal place for the Daebodan was selected at the site of a inner icehouse. But the inner icehouse could not be transferred to other site due to the circumstances. After all, the Daebodan was constructed at the site of Byeoldaeyeong(別隊營) which was located in the outside of palace. Most of the stones for the new Daebodan were used ones. And the annexe of Byeoldaeyeong was used for Daebodan without any changes being made. The scale of the construction was not particularly grand. After the construction, Sukjong, who made the Daebodan, showed barely any interest in it. But the conception of the Daebodan was back again in the history by Youngjo. He was also not interested in the Daebodan during his early years of ruling time. However, in the 1740's, he started to become interested in the ceremony of Daebodan, and carried out a large-scale reconstruction of the Daebodan. Jegigo(祭器庫) was rebuilt In 1739. And Jaesil(齋室), staying one night before the ceremonial day, was added in 1745. In 1749, the Daebodan was greatly changed by enshrining Uijong and Taejo, emperors of the Ming dynasty. The shape of alter was changed. Moreover this alter was made by newly quarried stones. And several buildings, Junsachung(典祀廳), Jaesaengchung(宰牲廳) and Akgongchung(樂工廳), were added to the site. In 1762, meritorious retainers were enshrined to the Daebodan. After all the Daebodan became an important part of the backyard of Changdukgung-palace. During the reign of Jungjo, the Daebodan also was an important part of backyard of Changdukgung-palace. But significant changes were not made at that time. The only change was the moving of Kyungbonggak(敬奉閣) in 1799. Afterward the Daebodan remained unchanged. The ceremonies at the Daebodan stopped in 1908. And the Daebodan disappeared into the mist of history.

• Korean Journal of Heritage: History & Science
• /
• v.56 no.2
• /
• pp.100-121
• /
• 2023

This paper examines the interior settings of a chamber and of a temporary place of enshrinement at Yeonghuijeon (永禧殿, Hall of Eternal Happiness), the representative official portrait hall in which portraits of early and late Joseon kings were enshrined. Also, it discusses the features of the Five Peak screens used therein. The physical environment of a chamber at Yeonghuijeon mainly consisted of a four-panel folding screen with a painting of Five Peaks and a large wooden platform, which was adorned with dragon and lion patterns and attached to lotus-leaf column balustrades. The Five Peak screen was installed on a large platform in the shape of ⊓, spreading across the second and third panels on the back and folding out on the first and fourth panels on the right and left sides. When a portrait was enshrined in a temporary place, a simpler and smaller platform with railings was used. A four-panel folding screen of the Five Peak painting was installed in the same way as in a chamber, but was unfolded around a smaller platform behind it. A royal portrait was displayed in each chamber, whereas a case in which a portrait was rolled up was put on the smaller platform in a temporary place. The Five Peak screens for a chamber and a temporary place were all large four-panel folding screens with two wide panels in the middle and two narrow panels on each side, and only strips of silk were mounted on the four edges of the screens without additional wide lower-side mountings. While screens for the chamber used patterned silk for mounting and white paper for backing on screen frames, screens for the temporary place used plain silk and recycled failed test papers for mounting and backing, respectively. By examining records in the literature on the Five Peak screens for Yeonghuijeon, this paper highlights two Five Peak screens, both of which lost their provenance from the hall. The structures of the two screens reflected the way they were to be installed at the hall. Furthermore, this paper assumes that a Five Peak screen, which had been unfolded on the throne in the main hall of Changdeokgung Palace after the 1960s, was produced in 1858 for the purpose of temporarily enshrining King Sunjo's portrait due to the fact that failed test papers of the 1840s were laid taut over the frame.

• Economic and Environmental Geology
• /
• v.56 no.3
• /
• pp.239-257
• /
• 2023

Sangdong deposit, a W-Mo skarn deposit, is located in Taebaeksan mineralized district, hosting vertically developed scheelite-quartz veins that formed at the late ore-forming stage. In this study, we tried to examine the geochemical signatures of ore-forming fluids and vein-forming mechanisms by analyzing the micro-texture of quartz veins and trace element concentrations of quartz. As a result of texture analyses, quartz veins in the hanging wall orebody and the foot wall orebody commonly exhibit the blocky and the elongate blocky texture, respectively, whereas quartz veins in the main orebody show both textures. These textural differences indicate that quartz veins from the hanging wall orebody were precipitated by the primary hydrofracturing due to H₂O saturation in the igneous body with relatively high temperature and pressure at a vein-skarn stage, and after that, repeated hydrofracturing caused the formation of quartz veins from the main orebody and foot wall orebody. The results of trace element concentrations show that Li⁺+Al³⁺↔Si⁴⁺ is a main substitution mechanism. However, those of the foot wall orebody were clearly divided into a Li⁺-dominated substitution and a Na⁺-, K⁺-dominated substitution. Considering that quartz veins from the foot wall orebody commonly show the elongate blocky texture, such a distinction means that it is a result of repeated injections of fluid with the different composition. Ti concentrations of quartz from the hanging wall, main, and the foot wall orebody are 28.6, 8.2, and 15.7 ppm in average, respectively. Given a proportional relationship between the precipitation temperature and Ti concentrations, it seems that quartz veins from the hanging wall orebody were precipitated at the highest temperature. Al concentrations of the hanging wall, main, and the foot wall orebody having an inverse relationship with fluid pH are 162.3, 114.2, and 182.5 ppm in average, respectively. These results show that Al concentrations in vein-forming fluids were not changed dramatically. Moreover, these concentrations are extremely low in comparison with the other hydrothermal deposits. This indicates that quartz in overall ore veins at Sangdong deposit was precipitated from the constant condition with slightly acidic to near neutral pH.

• Korean Journal of Heritage: History & Science
• /
• v.56 no.1
• /
• pp.142-160
• /
• 2023

The position of the people who participated in the Bapyo Ritual held in the reign of King Sejong and the corresponding costumes were examined. The king, who was the executive body of the ritual, wore Myeon-Bok, a court dress, and Myeon-Bok was Gujang-Bok made of Jang-wha on Guryu-Pyeongcheongwan. Crown princes, royal families, and government officials wore Oryang-Gwan and Jekraeui, which were Jobok. The crown princes' Joboks were changed from Oryang-Gwan to Wukryang-Gwan in the dynasty year 10 of King Sejong, and in the year of King Munjong's accession, Myeon-Bok was received, and after King Danjong, the crown princes wore Palryu-Pyeongcheongwan and Chiljang-Bok. Diplomats and Jongsagwan who were the envoys wore Sangbok. A Sangbok worn by the diplomat was Samo with Danryeong, Seo-Dae, and Hyeopgeum-Hwa, and a Sangbok worn by Jongsagwan was Samo, Danryeong, Heukgak-Dae, and Heukpi-Hwa. Byulgam, who served as an attendant to the king in the king's close quarters, wore Gongbok and Sangbok. Gongbok consisted of Ja-Geon, Danryeong and Heukpi-Hwa, and Sangbok consisted of orange color Cho-Rip, Jikryeong, Joa, and Heukpi-Hwa. The person holding San, Gae , Sujeongjang, and Geumwolbu wore Ja-Geon and Cheong-Ui, and Seon wore Pimoja and Hong-Ui. Siwigun wore armor and helmets equipped with weapons. Among court musicians, Aksa's costumes consisted of Bokdu, Bigongbok, Geumdonghyeokdae, Bibaekdaedae, and Opiri, and Aksaeng's one composed of Gaechaek, Bisuransam, Hyupgo, Mal, Maldae, and Opiri. As a result of the above, the process of ceremonial clothes becoming uniform clothes in the reign of King Sejong was confirmed. The king and lower-ranking officials such as crown princes, government officials, diplomats, Byulgam, armies for ceremonial weaponry, and court musicians participating in the Bapyo Ritual wore the highest grade of ceremonial clothes for each class. King Sejong had repeated discussions to build a nation based on Confucianism, and arranged each rite and corresponding costume, and the Bapyo Ritual costume was also systematically prepared for each position. The ceremonial clothing organized during the reign of King Sejong was regulated in Yejon and became the basis for continuing to the late Joseon Dynasty.

• Korean Journal of Heritage: History & Science
• /
• v.56 no.1
• /
• pp.182-205
• /
• 2023

The use of royal artificial flowers was finally found through schematics and records in Wonhaeng Eulmyojeongri Uigwe, which organized the procession to Hwaseong in 1795. The results of classifying the uses of artificial flowers in the brthday banquet at Bongsudang Hall in 1795 and considering the shape, user, and usage are as follows. According to literature records, artificial flowers were made with high-quality materials such as gold, silver, and silk thread in the early period, but were mainly made of paper in the later period. Artificial flowers were used for decorating official hats, Bongsudang Hall, and banquet tables. The Sagwonhwa was used for decoration of the official hats of members of the royal family, and the one on the top was called Eosam-Sagwonhwa. At the birthday banquet inBongsudang Hall, King Jeongjo and Hyegyeonggung used the Eosam-Sagwonhwa and put it on the right side of the official hats. Officials put peach blossom with two petals on the left side of the official hats for decoration. The artificial flowers for decoration of the official hats of musicians and dancers were more expensive and flashier than the officials' ones. Depending on the dance, several artificial flowers were inserted into the official hats. When measuring the size of artificial flowers, the scale used was when making a ceremonial article. For artificial flowers for decoration of the banquet hall, red and white peach blossoms were placed in two jars with dragons painted on them and them placed on two red-painted tables, respectively. The table and jar with flowers were tied together with a red cotton string and fixed so as not to fall over. The artificial flowers for decoration of the banquet table of King Jeongjo, Hyegyeonggung, and the king's sisters were a large lotus, medium-sized lotus, peony, rose, and specially made peach flowers. The artificial flowers for decoration of the banquet table of guests and officials were small lotuses and peach blossoms. The artificial flowers used in the birthday banquet at Bongsudang Hall the most were peach blossoms, and peaches had the meaning of longevity and exorcism. It is expected that the above research results will be helpful in understanding the characteristics and usage of artificial flowers in the period of King Jeongjo and use in reproducing royal feasts and producing traditional cultural contents.