• (The) Research of the performance art and culture
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• no.36
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• pp.75-102
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• 2018

Manjungpan Chunhyangga is established by Manjung Kim Sohee. She selectively chose and arranged the songs by Jung Jungryeol, Song Mangap, Jung Eungmin, Kim Yeonsoo, Park Dongsil, and Jung Kwangsil. Kim Sohee once stated that while a major section of Chunhyangga is based on the songs by Jung Jungryeol, Song Mangap, Jung Eungmin, and Kim Yeonsoo, the whole part of Okjungga is derived from Park Dongsil. However, there is not much material that will provide enough information with regard to what musical characteristics Park Dongsilje Chunhyangga possessed. Under the circumstances, the voice of Park Dongsilje, left by Kim Sohee, triggers curiosity on Park Dongsilje Chunhyangga. It can also be construed that there must be a good reason for choosing Park Dongsilje for Okjungga, unlike other parts. Therefore, this paper attempted to find out what the unique features of Par Dongsilje are and what the reasons behind Kim Sohee's musical choice were through comparison and analysis of Kim Sohee's musical features in Okjungga. The following are the results. Firstly, Okjungga is a created verse by its nature and it does not possess specific features to a school. Therefore, the reason for choosing Park Dongsilje could have been based on musical reason rather than verse. Secondly, the lyrics of Park Dongsilje Okjungga is closer to that of Song Mangap rather than that of Jung Jungryeolje. It can be argued that it falls between the two of them. Thirdly, the tone and melody of Park Dongsilje Okjungga falls in the middle section of Dongpyenje and Supyenje. Fourthly, the analysis of Jinyangjo rhythm out of the whole Manjungpan Chunhyangga shows that there are slight differences among Song Mangapje, Jung Jungryeolje, and Jung Eungminje. Park Dongsilje is very unique in the sense that it does not use utbutim in gyemyeonjo part in Manjungpan Chunhyangga. Park Dongsilje Okjungga is a song to which the tone, melody, and sigimsae of Supyeonje is added to lyric butimsae of Dongpyeonje. It can be seemed as simple and less sophisticated because, with its simple lyric butimsae, it shows a less complicated tone utilization rather than Jung Jungryeol. With lighter decoration of music, feelings can be conveyed more directly. That is probably why Kim Sohee commented on Park Dongsilje Chunhyangga that it is the most mournful song for Chunhyang and it is the song that moves anyone who listens to the song. Consequently, Kim Sohee accepted Park Dongsilje Okjungga and she created different feelings to Manjungpan Chunhyangga which has repeatedly displayed the color of Jung Jungryeol. Combining the lyric addition of Dongpyeon style and the melody of Supyeon style can crated a different language.

• (The)Study of the Eastern Classic
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• no.55
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• pp.265-291
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• 2014

Cheongeumrok is the journal of Gwonwoo(卷宇) Hong Chan-yu(1915-2005) during the period of January 9, 1969~January 14, 1982. He was personally involved in the foundation of a corporation called Yudohoi and also all of its operation, which makes him the most knowledgeable person about its history. His Cheongeumrok thus seems worthy enough as a proper material to arrange its history. Cheongeumrok consists of total 19 books, amounting to approximately 3,300 pieces of squared manuscript paper containing 200 letters per piece. He wrote it in Chinese and sometimes followed the Hangul-style word order while writing in Chinese. Many parts of the manuscript were written in a cursive hand with many Chinese poems embedded throughout it. The manuscript offers major information related to the corporation Yudohoi extracted from his journal. 1. There was a meeting of promoters to commemorate the foundation of the corporation in November, 1968, and it was in January, 1969 that it was established after getting a permit from the Ministry of Culture and Communication in January, 1969(Permit No. of Ministry of Culture and Communication: Da(다)-2-3(Jongmu(宗務)1732.5)). 2. Its office was moved from the original location of the 3rd floor of Wonnam Building, 133-1 Wonnam-dong, Jongro-gu, Seoul(currently Daekhak Pharmacy in front of Seoul National University Hospital) to Room 388 of Gwangjang Company, 4 Yeji-dong, Jongro-gu(office of Heungsan Social Gathering) and to second floor of KyungBo building, 21 Kyansu-dong, and to 3rd floor of Geongguk Building in Gyeongwoon-dong. 3. Its operational costs were covered by the supports of Seong Sang-yeong, the eldest son of Seong Jong-ho, the chairman of the board, later Kim Won-tae and Gwon Tae-hun, next chairmen of the board, and Hong Chan-yun, a director, since 1979. 4. His Confucian activities include participating in Seonggyungwan Seokjeonje (成均館 釋奠), joining in the erection of the Parijangseo(巴里長書) Monument and the publication of its commemorative poetry book, compiling the biographies(not completed) of Confucian patriotic martyrs for independence, and participating in the establishment of family rituals and regulations as a practice member. 5. His Yudohoi had a dispute with Seonggyungwan and lost a suit at the High Court in July, 1975 and Supreme Court in February, 1976. 6. There were discussions about its unification with Seonggyungwan Yudohoi, but there was hardly any progress. 7. Yudohoi started to provide full-scale courses on Confucian and Chinese classics under the leadership of Director Hong Chan-yu in 1979, and they have continued on today. Its courses for scholarship students including those for common citizens boast a history of 29 years and 220 graduates.

• Journal of Plant Biotechnology
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• v.49 no.1
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• pp.74-81
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• 2022

Brassica napus, an oil crop that produces rapeseed oil, is an allotetraploid (AACC, 2n = 38) produced by natural hybridization between B. rapa and B. oleracea. In this study, microspore was cultured using the F₁ developed from a cross between 'EMS26' line with high oleic acid content and 'J8634-B-30' lines. The flower bud size showing the nuclear development at the late uninucleate and binucleate stage with high embryogenesis rate was 2.6 ~ 3.5 mm. Microspores were cultured using only this size and after then most microspore embryo developed into secondary embryos and then regeneration plants obtained from the developed multilobe. The analysis of the ploidy of the plants revealed that 66.7% and 27.8% of the total lines were tetraploids and octoploids, respectively. The sizes of stomatal cells in tetraploids, octoploids, and diploids were 25.5, 35.6, and 19.9 ㎛, respectively, indicating that ploidy level was positively correlated with cell size. Furthermore, 62 tetraploid doubled haploid (DH) lines were selected. The average oleic acid (C18:1) and linolenic acid (C18:3) concentrations of DH were 72.3% and 6.2%, respectively. Oleic acid and linolenic acid concentrations exceeded the two parental values in 5 and 14 DH lines, respectively, suggesting that these two fatty acids had transgressive segregation. Therefore, the DH population can be utilized for the biosynthesis of unsaturated fatty acids in rapeseed and related genes. It can also be used as a breeding material for varieties with high oleic acid concentrations.

• (The) Research of the performance art and culture
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• no.41
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• pp.257-284
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• 2020

Goseong Ogwangdae started academic research in the late 1950s and was designated as a national intangible cultural asset in 1964. From the time of the academic survey to the time of designation, it was recorded as using paper masks, but when the recording image was filmed in 1965, it was already changed to wooden masks. In 1960, before being designated as an intangible cultural asset, the number of masks, which was 9 points, gradually increased to 19 points in 1964. It is necessarily included in the leper, Chorani, Malttuki, Cheongbo-Yangyang, Halmi, and Jemilju, but the character of the yangban is not yet clearly differentiated. Hwangbongsa and Sangju appeared as bare faces, and consumption, milling, Cheongbo-Yangyang are used together with Bibi and inspiration. It can be guessed that Bibi was not the appearance of a foreign object with horns as it is now, considering that Bibi and Madangsoi were used together. Since 1965, shortly after the designation, the whole of the Goseong Ogwangdae mask has been changed to a wooden mask. All the characters except for resident, courtyard, and top-of-the-line are wearing masks. Bibi, Hongbaek, and service masks have never appeared until 1964. The Yangban was changed to the closing ceremony with six people in the order of Won-Yangban, Baekje, Heukje, Cheongje, Hongbaek, and Jonggadoryong. Starting in 1969, the mask enters the stable period where the kind is the same as the present. Bibi-Yangban uses both the Won-Yangban and the Jemilju uses the Somu, but all other characters use the individual mask to use a total of 18 masks. The Yangbans are clearly differentiated, and a total of seven Yangban appear. The reason why the change in the type of mask and the expression of material is so large is that the first generation of mask makers died and the tradition of mask production was cut off, but there is also a cause of the extreme change in the environment of the drama that the performers who joined after the designation had to face. Also, it is closely related to the change of the times when the meaning and weight of masking in masking has changed. At that time, the performers were not so tied to the current concept of 'original form' that they preserved the appearance of the designated time. Originally, Goseong Ogwangdae was centered on improvisation dance, not the formalized dance as it is now, and there was a certain fluid aspect in the retelling, so it was flexible in the use of masks even before the designation of cultural assets. Strict rules did not apply in the details, as it was a self-sufficient play by the performers, not an offer event. The form and contents of this fluid play are changed to preparation for the performance while preparing for the folk art contest. As the subject of the contest in self-sufficient play, dance, costumes, and props became more and more colorful as well as dancing, costumes, and props. As a result, participation in the contest brought about changes in the overall performance and changed the mask, which was accepted within the preservation society.

• (The) Research of the performance art and culture
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• no.19
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• pp.161-190
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• 2009

This study presents matters of how to analyse the dance of artistic form on the course of transforming folk art to be separated from leisure to become the art form. In particular, the traditional art of dance in Korea has been of collective act like dureh, rather than of individual art, that it had to choose the repeated style of same form and rhythm. In this respect, before it can be said that the dance in its own form became more sophisticated and adopted the artistic segment in the time of modernisation, it is viewed that in the very heart of folk dance there was sufficient ability of artistic material to seek its own right. In this regard, the artistic transformation of seoljanggo nori into seoljanggo dance is an art form which is found in Korea, and expressing rhythm and playfulness is evident and sought attention. Therefore this study puts its importance in analysing how, in the aspect of the course of life of traditional arts, dance is formed in its own right and developed a form of art from fun entertainment. I have chosen, among them, seoljanggo, which used to be a form of fun entertainment and later transformed into a form of art on stage, in particular LeeGyeongh wa seoljanggo dance which maintains the style of Honam Udo farmers' music, and tried to read the text from it. It has resulted in that, Lee Gyeonghwa seoljanggo dance did a new try on tradition, in its development of expressing art through dance and onto more technical sophistication, found in the style of tune and choreography fused into its distinctive form. The art of traditional dance concerns here that seoljanggo has changed from agrarian entertainment to modern stage art, which shows how tradition can be adopted to the contemporary cultural life or to be reinvented to the needs of the aesthetic style that the current society consumes. Thus, it is necessary to think about its role in education and to represent cultural creativity from local developments.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.3
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• pp.137-148
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• 2018

Li Yu's Xian Qing Ou Ji was written during the late Ming and early Qing Dynasty when material culture flourished due to the development of the commercial economy. Xian Qing Ou Ji is considered a retrospective work that reflects the rich material society at that time. This study focuses on his gardening theories through the interpretation and analysis of these two texts of 'Jushibu(居室部)' and 'Zhongzhibu(種植部)' in Xian Qing Ou Ji. The results are summarized as follows. First, he explained the method of garden configuration and orientation according to the topography utilizing the theory of 'suiting one's measures to local conditions(因地制宜)'. He emphasized the detailed understanding of topography as the starting point for all the gardening theories. It stated that he tried to adjust the height of the terrain artificially to create an ideal form of 'anterior high and posterior low(前低後高)'. The successful arrangement of houses, pavilions, rockery and waterways et al. was able to be achieved because of his accurate understanding of topography. Second, 'borrowing scenery(取景在借)' means 'borrowing the outside scenery to the inside'. He applied this theory by 'viewing in motion(動觀)' and 'viewing in repose(靜觀)'. 'Viewing in motion' is seen as a positive methodology for landscape enjoyment. For example, the view through a window changes with movements of the boat, and it can portray thousands of landscape paintings which can be seen through the windows. In the case of 'viewing in repose', the window is regarded as a means of attracting outside garden views to the inside. Third, he emphasized 'the firmness of objects(制體宜堅)', where the design of windows and railings must be considered ahead of others. Fourth, he interpreted the contents of 'the pursuit of novelty(創異標新)'. This generalizes the characteristics of his gardening theory. The contents included 'hall wall(廳壁)', 'variable sun visor(活?)', 'hanging boards and couplets(聯?)' and 'method of supporting vines with bamboo screen(竹屛扶植法)'.

• Journal of Ginseng Research
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• v.30 no.2
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• pp.88-94
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• 2006

Ginseng as a raw material for production of probiotic ginseng product by lactic acid bacteria (LAB) was evaluated in this study. Either white ginseng (WG) or red ginseng (RG) (1% or 5%, w/v) were directly inoculated with a 24 hold seed culture of twenty seven substrains of four different LAB ($1.0{\times}10^6CFU/ml$); Lactobacillus spp., Streptococcus/Enterococcus spp., Leuconostoc/Lactococcus spp. and Bifidobacterium spp., and incubated at $37^{\circ}C$ for 24 or 48 h. Among 27 kinds of LAB, seven substrains of Lactobacillus (MG208, MG311, MG315, MG501, MG501C, MG505, MG590) and one Bifidobacterium (MG723) were selected based on their dose dependent stimulation of the growth of LAB in the presence of ginseng and changes in pH, acidity and viable cell counts during fermentation were examined. Lactobacillus MG208 specifically was found to show the best growth on 5% RG and reached nearly $14.0{\times}10^8CFU/ml$ after 48 h of fermentation and produced the titratable acidity as $0.84{\pm}0.02%$, whereas the pH was significantly lowered from $6.80{\pm}0.01\;to\;3.42{\pm}0.02$. These results indicated that ginseng can be an appropriate material to prepare the fermentation product by several strains of LAB. Therefore we should further check whether probiotic ginseng product may have synergistic health benefits of both probiotics and ginseng to serve for vegetarians and lactose-allergic consumers.

• Journal of the Mineralogical Society of Korea
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• v.31 no.4
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• pp.267-275
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• 2018

The purposes of this study were to analyze the mineralogical characteristics of slaked lime used for wall repair of traditional buildings in Bagan, Myanmar and to evaluate the physical properties of lime plaster produced by the same method as Bagan region. In the X-ray diffraction and thermal analysis of the Myanmar slaked lime, portlandite ($Ca(OH)_2$) and brucite ($Mg(OH)_2$) were detected as main constituent minerals, and a carbonate rock mainly composed of dolomite ($CaMg(CO_3)_2$) minerals may be used as a raw material to make slaked lime. The field-emission scanning electron microscope analysis showed that the Myanmar slaked lime was composed of irregularly shaped crystals of $0.5{\mu}m$ or larger and a small amount of $0.1{\mu}m$ of plate - like crystals. The size and uniformity of crystals in Myanmar lime is different from that of Korea slaked lime. This may be attributed to the effect of the mineral composition and the lime hydration method of Myanmar, which produces slurry by immersing the burnt lime in excess water for a long period of time. The compressive strength of the lime plaster in Myanmar resulted in a mean value of $1.13N/mm^2$ for the specimens cured for 28 days. The strength of the specimens with Bale juice was $1.03N/mm^2$, respectively. The lime is an air setting material that exhibits strength through long carbonation process. Therefore, it is necessary to evaluate physical properties according to curing period through long-term curing over 28 days in the future.

• Journal of Ginseng Culture
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• v.5
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• pp.32-51
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• 2023

Because red ginseng was exported in large quantities to the Qing Dynasty in the 19th century, a large-scale ginseng cultivation complex was established in Kaesong. Sibyunje (時邊制), a privately led loan system unique to merchants in Kaesong, made it possible for them to raise the enormous capital required for ginseng cultivation. The imperial family of the Korean Empire promulgated the Posamgyuchik (包蔘規則) in 1895, and this signaled the start of the red ginseng monopoly system. In 1899, when the invasion of ginseng farms by the Japanese became severe, the imperial soldiers were sent to guard the ginseng farms to prevent the theft of ginseng by the Japanese. Furthermore, the stateled compensation mission, Baesanggeum Seongyojedo (賠償金 先交制度), provided 50%-90% of the payment for raw ginseng, which was paid in advance of harvest. In 1895, rising seed prices prompted some merchants to import and sell poor quality seeds from China and Japan. The red ginseng trade order was therefore promulgated in 1920 to prohibit the import of foreign seeds without the government's permission. In 1906-1910, namely, the early period of Japanese colonial rule, ginseng cultivation was halted, and the volume of fresh ginseng stocked as a raw material for red ginseng in 1910 was only 2,771 geun (斤). However, it increased significantly to 10,000 geun between 1915 and 1919 and to 150,000 geun between 1920 and 1934. These increases in the production of fresh ginseng as a raw material for red ginseng were the result of various policies implemented in 1908 with the aim of fostering the ginseng industry, such as prior disclosure of the compensation price for fresh ginseng, loans for cultivation expenditure in new areas, and the payment of incentives to excellent cultivators. Nevertheless, the ultimate goal of Japanese imperialism at the time was not to foster the growth of Korean ginseng farming, but to finance the maintenance of its colonial management using profits from the red ginseng business.

• Korean Journal of Breeding Science
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• v.51 no.3
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• pp.190-200
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• 2019

It is reported that the absence of lipoxygenase-3 (LOX-3) may contribute to a reduction in stale flavor after the storage of rice. To improve the quality of stored rice of the Korean japonica rice cultivar, we conducted a breeding program to develop near-isogenic rice without LOX-3 in the genetic background of Saenuri, a mega variety of Korea. In the first step of the breeding program, we used a donor parent of LOX-3 null, Daw Dam, and a recurrent japonica parent, Sindongjin, to develop HR27873-AC12 by backcross (BC₁), color test for introgression of lox-3, and anther culture for rapid fixation. In the second step, we used the donor parent, HR27873-AC12, and the recurrent parent, Saenuri, to develop HR28896-31-3-1-1 by backcross (BC₁), marker-assisted selection (MAS) for lox-3, and phenotypic selection (PS) for agronomic traits. Finally, in the third step, we developed HR30960-186-2-1-2-1 (Jeonju624), derived from a cross between Saenuri and HR28896-31-3-1-1, by MAS for lox-3 and PS with high selection pressure for agronomic characteristics. Jeonju624 was confirmed with the introgression of lox-3 by molecular marker. Jeonju624 was a mid-late maturing rice with similar agronomic characteristics to Saenuri, lodging tolerance with short culm, erect plant architecture, and resistance to bacterial blight and rice stripe virus. The yield components of Jeonju624 were mostly similar to Saenuri, except for the 1,000-grain weight of brown rice. The appearance of the grain of Jeonju624 was better than that of Saenuri, and the characteristics of cooked rice were similar to those of Saenuri. In the genetic background analysis using 406 KASP (Kompetitive Allele-Specific PCR) markers, Jeonju624 was confirmed to be the near-isogenic line (NIL) of Saenuri with a 95.8% recovery rate. Jeonju624 is the NIL of Saenuri without LOX-3, and overcomes the linkage drag of Daw Dam with similar agronomic characteristics and genetic background to Saenuri. Jeonju624 can be utilized as a practical cultivar to improve the quality of stored rice, breeding material for the introgression of lox-3, and genetic material to elucidate the effect of introgressed genes.