• Journal of agriculture & life science
• /
• v.43 no.1
• /
• pp.51-59
• /
• 2009

The chemical components and antimicrobial activities of garlic from different area were investigated and analyzed to provide basic data for functional food materialization and processing. Hunter's values of garlic from different area were L 53.41~57.15, a -3.49~-4.38 and b 11.47~17.55. The moisture, crude protein, crude fat, nitrogen free extract, crude fiber and ash were 65.24~71.96, 6.24~9.35, 0.21~0.49, 19.01~22.72, 0.58~0.95 and 1.01~2.01%, respectively. The major minerals of garlic from different area were Na(27.22~112.03), Mg(18.17~32.56), K(242.16~569.28), Ca(28.60~63.93), P(117.72~265.21 mg%) and major free sugars were sucrose, glucose and fructose. The major amino acids of garlic from different area were proline, arglmne, glutamic acid and aspartic acid and content of total amino acid was 2,709.33~4,561.04 mg%. The ascorbic acid content of garlic from different area was 2.966~8.673 mg%. Composition of fatty acids of garlic from different area were linoleic acid, oleic acid and palmitic acid, unsaturated fatty acid and saturated fatty acid contents were 72.18~74.35 and 25.65~27.82%, respectively. Antimicrobial activities of garlic extracts as different area increased depends on concentration and showed the high antimicrobial activities against Gram(+) and Gram(-).

• Journal of Korean Classical Literature and Education
• /
• no.34
• /
• pp.115-147
• /
• 2017

This paper compared and reviewed the poetic theories and Chinese poems of the Korean author Kim Chang Heup and his Japanese counterpart, Kan Chazan. Kim Chang Heup and Kan Chazan shared largely the same opinions on poetry, and both rejected archaism. First, they did not just copy High Tang poetry. Instead, they focused on the (sometimes trivial) scenery right in front of them, and described the calm feelings evoked by what they had seen. They also adopted a sincere tone, instead of an exaggerated one, because both believed that poetry should be realistic. However the differences between the two poets are also noteworthy. Kim Chang Heup claimed that feelings and scenery meet each other within a literary work through Natural Law, and the linguistic expressions that mediate the two are philosophical in nature. However, Kan Chazan did not use Natural Law as a medium between feelings and scenery. Instead the Japanese writer said the ideal poetical composition comes from a close observation and detailed description of scenery. In sum, while Kim Chang Heup continued to express reason through scenery, Kan Chazan did not go further than depicting the scenery itself. In addition, Kim Chang Heup believed poetry was not only a representation of Natural Law, but also a high-level linguistic activity that conveys a poetic concern about national politics. As a sadaebu (scholar-gentry), he held literature in high esteem because he thought that literature could achieve important outcomes. On the other hand, Kan Chazan regarded it as a form of entertainment, thereby insisting literature had its own territory that is separate from that of philosophy or politics. In other words, whereas Kim Chang Heup considered literature as something close to a form of learning, Kan Chazan viewed it as art. One might wonder whether the poetics of Kim Chang Heup and Kan Chazan reflect their individual accomplishments, or if the characteristics of Chinese poetry that Korean and Japanese poets had long sought after had finally surfaced in these two writers. This paper argued that the two authors' poetics represent characteristics of Chinese poetry in Korea and Japan, or general characteristics of Korean and Japanese literatures in a wider sense. Their request to depict actual scenery in a unique way, free from the ideal model of literature, must have facilitated an outward materialization of Korean and Japanese literary characteristics that had developed over a long time.

• The Korean Journal of Archival Studies
• /
• no.20
• /
• pp.151-212
• /
• 2009

Museums are producing new value and being redefined as places that reproduce context, as the process of globalization are being reflected in museum activities. The new additional functions and roles to the traditional mission of museums allow artworks to find potential functions of art archive and meseum. At the same time, the public has faced originality and aura of an artwork by viewing the physical subject. However, with the appearance of a new digital object, the initiative of viewing has moved over from the artwork to the hands of the public. Now, the public does not go to the museum to see an artwork, but has started to adopt to an opposite paradigm of bringing the artwork forward to the screen. Therefore, they are not satisfied any longer with just seeing an artwork, but demand more information about the artworks and reproduce it as knowledge. Therefore, this study aimed to find types and characteristics through definition and range selection of art archive at this point where the value of art archive is enhanced and systematic management is required, and to present record management methods according to art archive structure and core execution function. It especially stressed that the basis of overall art archive definition was in an 'approach' paradigm rather than a 'preservation' paradigm, and embodied various application methods of digitalized art records. The digital object of an artwork was recognized as the first materialization of an actual artwork, and the digital original of an artwork was presented as the core record. Art archive managed under physical and intellectual control were organically restructured focusing on digital original copies of artworks, which are the core record in a digital technology environment, and could be provided to users in forms of various services that meet their demands. The beginning of systematic management of such art records will become a first step to enhance historical value, establish art cultural identity, and truly possess art culture.

• Journal of Climate Change Research
• /
• v.5 no.2
• /
• pp.95-107
• /
• 2014

The 'Green Start Movement' is a practical movement of green living to efficiently reduce the greenhouse gases originating from non-industrial fields such as household, commerce, transportation, etc. for the 'materialization of a low carbon society through green growth (Low Carbon, Green Korea)'. When the new government took office, following the Lee Myeongbak Administration that had presented 'Low Carbon, Green Growth' as a national vision, it was required to set up the direction of the practical movement of green life to respond to climate change persistently and stably as well as to evaluate the performance of the green start movement over the past 5 years. A questionnaire survey was administered to a total of 265 persons including public servants, members of environmental and non-environmental NGOs, participants of the green start movement and professionals. In the results of the questionnaire survey, many opinions have indicated that the awareness of the green start movement is increasing and the green start movement has had a positive impact on individual behavior and group behavior in terms of green living. The result shows, however, that the environmental NGOs don't cooperate sufficiently to create a 'green living' effect on a national scale. Action needs to be taken on the community level in order to generate a culture of environmental responsibility. The national administration office of the Green Start Movement Network should play the leading role between the government and environmental NGOs. The Green Start National Network should have greater autonomy and governance of the network needs to be restructured in order to work effectively. Also the Green Start Movement should identify specific local characteristics to support activities that reduce greenhouse gas emissions. Best practices can be shared to reduce greenhouse gas emissions by a substantial amount.

• Journal of Practical Agriculture & Fisheries Research
• /
• v.10 no.1
• /
• pp.43-58
• /
• 2008

This research was conducted to determine the alternative tool of chemical spray for rice cultivation using the unmanned helicopter(Yamaha, R-Max Type 2G-remote controlled system) at farmer's field in Korea. The unmanned helicopter tested was introduced form Japan. In Korea the application of chemicals by machine sprayer for pest management in rice cultivation has been ordinarily used at the farmer's level. However, it involved a relatively high cost and laborious for the small scale of cultivation per farm household. Farm population has been highly decreased to 7.5% in 2002 and the population is expected to rapidly reduce by 3.5% in 2012. In Japan, pest control depending on unmanned helicopter has been increased by leaps and bounds. This was due in part to the materialization of the low-cost production technology under agricultural policy and demand environmentally friendly farm products. The practicability of the unmanned helicopter in terms of super efficiency and effectiveness has been proven, and the farmers have understood that the unmanned helicopter is indispensable in the future farming system that they visualized. Also, the unmanned helicopter has been applied to rice, wheat, soybean, vegetables, fruit trees, pine trees for spraying chemicals and/or fertilizers in Japan Effect of disease control by unmanned helicopter was partially approved against rice blast and sheath blight. However, the result was not satisfactory due to the weather conditions and cultural practices. The spray density was also determined in this experiment at 0, 15, 30, and 60cm height from the paddy soil surface and there was 968 spots at 0cm, 1,560 spots at 15cm, 1,923 spots at 30cm, and 2,999 spots at 60cm height. However, no significant difference was found among the treatments. At the same time, there was no phytotoxicity observed under the chemical stray using this unmanned helicopter, nor the rice plant itself was damaged by the wind during the operation.

• Korea Science and Art Forum
• /
• v.20
• /
• pp.315-326
• /
• 2015

This study has started from a curiosity about how the concept and characteristics of mise en abyme, which is one of meta-discourse in the contemporary aesthetics and has affected every aspect of modern philosophy, art, and culture, are expressed in modern architecture. 'Mise en abyme' is a technique mainly used by writers of the nouveau roman after it was introduced first in the work of novelist Andre Gide; this technique of artistic expression has been extended across the whole contemporary art and has become the meta-discourse which essentially makes its appearance in the art after postmodernism. 'Mise en abyme', meaning endless formation of image between two mirrors, got involved with discourse of the various philosophers of the time such as Deleuze and Derrida, and was also expressed in the language of architecture by modern architects who have been influenced by their philosophy. In this context, the technique of mise en abyme which is mostly used in art has a relation to methods of space expression of architects. This research studied the characteristics of mise en abyme which show in the expressional method of the modern architecture based on the relationship between the technique of mise en abyme and the modern method of architectural expression. Moreover, on the basis of this an analysis was carried out on architectural works of Jean Nouvel, who uses de-materialization and singularity as the architectural language. Through the research it was confirmed that the characteristics of expression of mise en abyme in architecture are embodied in material of the surface which forms buildings' exterior, or expressed by using reflection and graphical factors. Through analysis this study allows the chance to see that even though the means and field for expressing mise en abyme are different, the characteristics of the fundamental concept are shared among them, and to think about the meaning in the technique of mise en abyme as one yardstick to understand modern architecture in modern times with no specific mainstream.

• (The) Research of the performance art and culture
• /
• no.22
• /
• pp.123-155
• /
• 2011

This study aims to closely read Kim Jong-il's "About Stage Drama Arts" and disclose the new reality as evaluated by him. The study took the method by which to compare Kim Jong-il's theory on drama and North Korea's drama theory in the 1950s, and the findings of this study revealed that it was irrational to grant the adjective "new" to Kim Jong-il's drama theory. This is because tradition inheritance and newness cross each other. First, his tradition inheritance aspect was found in his playwriting method. In playwriting method, Kim Jong-il's argument about characters and language is an extension of the 1950s drama theory, and his theory on JongZa(seeds) is the transformation of the concept proposed in the 1950s. Also, the expression means of dramas and drama arts is dialogue, and his guideline to focus on the art of conversation rather than on acting is interpreted to be a reduced concept of drama arts, compared with the 1950s drama theory. On the other hand, his newness aspect can be clearly discovered in the materialization of stage. The fixed stage background, without dark change, shifts to another situation as it is, and this stage setting is clearly distinguished from the previous stage setting. The attempt is worth highly evaluating to allow the stage to reflect actors' emotional flows and let them act. Also, the attempt is distinctively distinguished from previous drama theories to allow the chorus' positive involvement in dramas so as to directly deliver characters' emotions to the audience and to trigger the audience' response as intended by creators. From the perspectives of drama evaluation, Kim Jong-il's theory and practice regarding stage and music is understood to maximize the audio-visual effects. Therefore, Kim Jeong-il's drama theory, as he argues, is not a completely new theory, but a transformational inheritance of existing drama theories, and a creation theory with focus on expansion of spectacles.