• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.46-57
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• 2014

This study contemplated the gardening culture from the pictures, which the scholars of late Joseon Dynasty, the aspects of garden landscapes and garden use behaviors are drawn as follows. 1. The yard by the detached house for men and guest in front of the premises(Sarang Madang) and backyard were the major places for Ahoi(social gatherings of the scholars). The mansions had interests in the management of the outer garden beyond the house wall with building structures like the pavilions on the high walls and side gates. This management and the selection of location anticipating in advance of the management are noteworthy. 2. Only house gardens had plant pots with flowers and the small flower bed(Hwa-O) at Sarang Madang occasionally had plant pots without flowers and oddly shaped stone pots and equipped pine branch eaves and traditional awnings made of plant material like a trellis. 3. The oddly shaped stones were significant landscape elements in the gardens of houses and villas. Some of them were depicted as the Taihu stone and this draws attention to the question of whether the Taihu stone was actually used in the garden of late Joseon Dynasty. 4. The gardens in villas accommodated the borrowed scenery with various materials like wooden fences, bamboo or reed fences, mud walls. They also had the artificial gardens with some odd shaped stones, old pines, bamboos, Japanese apricots, willows, paulownia trees, lotuses and plantains in the secured Madangs. 5. Gyeong Hwa Sa Jog(The scholars of the ruling class adapted to the 18th century's new historical aspect) of late Joseon Dynasty built the villas at the beautiful scenery closed to the their houses. 6. The Gardens around pavilions were located high closed to the mountain streams with nature like beautiful forests, oddly formed rocks, precipitous cliffs and viewing stones. The back side of the pavilion was enclosed by bamboo forests and the front had pines, ginkgoes and willows as shade trees. 7. The beautiful scenery which was preferred as the place for Ahoi was basically with fantastic peaks and precipitous cliffs which forms the distant view harmonized with a waterfall. Broad and flat rocks at the summit of a mountain which commands a bird's-eye view or on a mountain streamside with pine forest, willows and plum trees were chosen as the optimal places for Ahoi. 8. Pine trees were presumed to be more preferable than other species in the garden, especially an single planted old pine tree accented symbolism. 9. Portable tea braziers for boiling tea were adopted in all four types of the gardens. 10. The gardens mixed with auspicious landscape elements were the places of the arts for an unworldliness Ahoi through GeumGiSeoHwa(enjoying strings, go, writing and painting) and boiling tea.

• Journal of the Korean Society of Food Culture
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• v.18 no.4
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• pp.320-332
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• 2003

This study evaluated the effect of the nutrition education about infant feeding on the change of mother's knowledge, attitude and practice of weaning. The subjects consisted of treatment group (n=54) and control group (n=34). The treatment group participated in 6 times nutrition education and 5 times surveys. Nutrition education for weaning of the treatment group improved nutrition knowledge, attitude and practice in infant feeding. Before education, mean scores of control group and treatment group were 7.3 and 7.5 respectively but there was no significant difference. Both group got low score in a statement about weaning period, but they got good score in a statement about weaning method. After education, treatment group got better score(9.1) than control group(8.3) significantly (p<0.05). Treatment group was more desirable than control group specially in a use of Sun-sik, sugar, salt and weaning food mixed with formula after education (p<0.05). Practice of spoon feeding was more frequent in treatment group after education, however, control group used sugar and commercial weaning food more frequently than treatment group(p<0.05). Intake frequency of cow's milk and cookies of infants at age 9-12 month in control group was higher than treatment groups(p<0.01). Thus the nutrition education to mother seems to be effective in achieving desirable dietary behavior of infants.

• Korean Journal of Food Science and Technology
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• v.34 no.2
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• pp.263-268
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• 2002

Bacillus polyfermenticus SCD, which is commonly called a 'Bisroot' strain, has been appropriately used for the treatment of long-term intestinal disorders, since the live strains, in the form of active endospores, can successfully reach the target intestine. Goal of this study was to develop an industrial medium for growth and sporulation of B. polyfermenticus SCD. From the results of effect of mixed carbon sources on growth and sporulation of B. polyfermenticus SCD, glucose 2% and starch 2% was particularly found to be the most effective for the maximum number of spore production, resulting in spore cells of $4.3{\times}10^9\;spores/mL$ with a sporulation yield of 91%. For the effect of nitrogen sources, the maximum spore cells of $5.7{\times}10^9\;spores/mL$ of B. polyfermenticus SCD with a sporulation yield of 97% was obtained when B. polyfermenticus SCD was cultivated in an optimum nitrogen source medium containing 5% soybean flour. A medium involving proper phosphate salt yielded the maximum number of a spore cells of $6.0{\times}10^9\;spores/mL$ with a sporulation yield of 95%. Finally, the efficacy of an industrial medium (KH5 medium) on growth and sporulation of B. polyfermenticus SCD was investigated in jar fermenter. The higher number of viable cells $(3.3{\times}10^{10}\;cells/mL)$ and spore cells $(3.0{\times}10^{10}\;spores/mL)$ were obtained in 5 L fermenter when compared with a 500 mL baffle flask cultivation. Thus, KH5 medium developed in this study shows promise as an industrial medium because of higher cells and sporulation yield.

• Applied Biological Chemistry
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• v.42 no.1
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• pp.20-28
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• 1999

To improve Bacillus strains producing biopolymer, conditions for protoplast formation and regeneration were investigated in biopolymer producing Bacillus subtilis K-1 and lactose utilizing Bacillus coagulans. Bacillus subtilis K-1 mutant (SM-2) and Bacillus coagulans mutants (CM-12) were marked auxotrophic and antibiotics-resistant (SM-2) and an antibiotics-resistant mutants, respectively. To formate protoplasts derived from the mutants, conditions were established as follows. For B. subtilis mutant SM-2, its culture in mid-logarithmic phase was added with penicillin G (1.0 unit/ml) and further reacted for 1.5 hr. Cells were collected and then treated in lysis fluid (pH 7.0) containing 0.4 M sucrose and lysozyme $25\;{\mu}g/ml$ for 40 min at $37^{\circ}$. Protoplast formation was very successful (99.6%) and the ratio of cell wall regeneration was 2.4%. For Bacillus coagulans mutant CM-12, its mid-logarithmic phase culture was treated with penicillin G (0.3 unit/ml) and glycine (0.5%) for 1hr. Cells were collected and then resuspended in lysis buffer (pH 7.0) containing 0.6 M lactose and lysozyme $(300\;{\mu}g/ml)$ for 30 min at $37^{\circ}$. Protoplast formation was also successful (90.8%) and cell wall regeneration ratio was similar to SM-2 (2.2%). To improve regeneration frequency, regeneration medium was obtained as followed condition,. Cell wall regeneration was improved 2-4 folds with 5.1% for B. subtilis SM-2 and 10.3% for B. coagulans CM-12 when protoplasts mixed with soft top agar(0.4%) was overlaid onto trypticase soy broth medium containing 0.4 M sucrose, 0.7% casamino acid, 1% PVP, 25 mM $MgCl_2,\;25\;mM\;CaCl_₂$ and 1.5% agar.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.2
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• pp.130-141
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• 2012

This study examines the characteristics of landscape elements and the reappearance techniques of traditional landscape image in Chinatown of the Shanghai Street in Busan, Korea. The subjects of the study are commercial buildings owned by Chinese residents, commercial buildings' naming design and environmental sculptures in the Shanghai Street. The results are as follows: First, the design methods of the front side of commercial buildings were classified into two parts: facede design of buildings and signboard design. The design form of the buildings' facades were classified into five types, there are: emphasis type on Chinese characters' signboard, addition type on decorative signboard, introduction type of traditional patterns, imitation type of traditional architectures and modern architectures' modes. The signs of chinese commercial buildings were observed mostly as having a traditional Chinese font in yellow/white on a red background. It has been found that this style was the most popular method of sign design. Secondly, The commercial buildings' naming design was analyzed into design methods and meanings. Design methods were classified into three types: a combination of meaning and place, a combination of season and atmosphere and tourist attractions. The meaning of the commercial buildings' names was divided into three kinds: the wishes of the prosperity, elegant type and the appropriation of local attractions. Thirdly, the environmental sculptures of Shanghai Street were found to have been influenced by both through out Chinese culture with mixed Korean culture. Finally, as for characteristics of landscape elements, we found three reappearance techniques - addition, replacement, juxtaposition. The technique of addition is added new face to the base map by just two methods - extending and overlapping area. Replacement is created new faces from base map by the action of replacing, it has three types - local replacement, package replacement, successive replacement. Juxtaposition is the fact of two or more things placed together with contrasting effect, it also has three types - the same kind juxtaposition, a different kind juxtaposition, topological juxtaposition. This study is the basic research which is analyzing the landscape design in chinatown. But the research only on Shanghai Street may have some limits in scope. It is considered an necessary study to add, which is about chinatown in other city such as Incheon, Jeonju. Then it is expected that the results of this study can be used for the basic data of the landscape plans, that municipalities are actively progressing their respective development projects of Chinatown.

• Korean Journal of Microbiology
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• v.42 no.3
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• pp.185-194
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• 2006

The aim of this study was to identify the bacteria isolated from endodontic lesions by cell culture and to determine the antimicrobial susceptibility of them against 8 antibiotics. The necrotic pulpal tissues were collected from 27 infected root canals, which were diagnosed as endodontic infection. Samples were collected aseptically from the infected pulpal tissue of the infected root canals using a barbed broach and a paper point. The cut barbed broaches and paper points were transferred to an eppendorf tube containing $500{\mu}l\;of\;1{\times}PBS$. The sample solution was briefly mixed and plated onto a BHI-agar plate containing 5% sheep blood. The agar plates were incubated in a $37^{\circ}C$ anaerobic chamber for 2 to 5 days. The bacteria grown on the agar plates were identified by comparison of 16S rRNA gene (rDNA) sequencing method at the species level. To test the sensitivity of the bacteria isolated from the infected root canals against 8 antibiotics, minimum inhibitory concentrations (MIC) were determined using broth dilution assay. The data showed that 101 bacterial strains were isolated and were identified. Streptococcus spp. (29.7%) and Actinomyces spp. (21.8%) were predominantly isolated. The 9 strains were excluded in antimicrobial susceptibility test because they were lost during the experiment or were not grown in broth culture. The percentage of bacteria susceptible for each antibiotic in this study was clindamycin, 87.0% (80 of 92); tetracycline, 75.0% (69 of 92); cefuroxime axetil, 75.0% (69 of 92); amoxicillin + clavulanic acid (5:1), 71.7% (66 of 92); penicillin G, 66.3% (61 of 92); erythromycin, 66.3% (61 of 92); amoxicillin, 44.6% (41 of 92); and ciprofloxacin, 31.5% (29 of 92). The susceptibility pattern of 8 antibiotics was dependent on the host of the bacteria strains rather than the kinds of bacterial species. These results indicate that antibiotic susceptibility test should be performed when antibiotics are needed for the treatment of infected root canals.

• The Journal of Art Theory & Practice
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• no.5
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• pp.217-229
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• 2007

Many historical research and facet about modern art in Indonesia which formulating background of contemporary Indonesian Art. Indonesian art critic Sanento Yuliman states that Modern art has been rapidly developing in Indonesia since the Indonesian Independence in 1945. Modern Art is a part of the super culture of the Indonesian metropolitan and is closely related to the contact between the Indonesian and Western Cultures. Its birth was part of the nationalism project, when the Indonesian people consists of various ethnics were determined to become a new nation, the Indonesian nation, and they wished for a new culture, and therefore, a new art. The period 1960s, which was the beginning of the creation and development of the painters and the painters associations, was the first stage of the development of modern art in Indonesia. The second stage showed the important role of the higher education institutes for art. These institutes have developed since the 1950s and in the 1970s they were the main education institutes for painters and other artists. The artists awareness of the medium, forms or the organization of shapes were encouraged more intensely and these encouraged the exploring and experimental attitudes. Meanwhile, the information about the world's modern art, particularly Western Art; was widely and rapidly spread. The 1960s and 1970s were marked by the development of various abstractions and abstract art and the great number of explorations in various new media, like the experiment with collage, assemblage, mixed media. The works of the Neo Art Movement-group in the second half of the 1970s and in the 1980s shows environmental art and installations, influenced by the elements of popular art, from the commercial world and mass media, as well as the involvement of art in the social and environmental affairs. The issues about the environment, frequently launched by the intellectuals in the period of economic development starting in the 1970s, echoed among the artists, and they were widened in the social, art and cultural circles. The Indonesian economic development following the important change in the 1970s has caused a change in the life of the middle and upper class society, as has the change in various aspects of a big city, particularly Jakarta. The new genre emerged in 1975 which indicates contemporary art in Indonesia, when a group of young artists organized a movement, which was widely known as the Indonesian New Art Movement. This movement criticized international style, universalism and the long standing debate on an east-west-dichotomy. As far as the actual practice of the arts was concerned the movement criticized the domination of the art of painting and saw this as a sign of stagnation in Indonesian art development. Based on this criticism 'the movement' introduced ready-mades and installations (Jim Supangkat). Takes almost two decades that the New Art Movement activists were establishing Indonesian Installation art genre as contemporary paradigm and influenced the 1980's gene ration like, FX Harsono, Dadang Christanto, Arahmaiani, Tisna Sanjaya, Diyanto, Andarmanik, entering the 1990's decade as "rebellion period" ; reject towards established aesthetic mainstream i.e. painting, sculpture, graphic art which are insufficient to express "new language" and artistic needs especially to mediate social politic and cultural situation. Installation Art which contains open possibilities of creation become a vehicle for aesthetic establishment rejection and social politics stagnant expression in 1990s. Installation art accommodates two major field; first, the rejection of aesthetic establishment has a consequences an artists quest for medium; deconstruction models and cross disciplines into multi and intermedia i.e. performance, music, video etc. Second aspect is artists' social politic intention for changes, both conclude as characteristics of Indonesian Installation Art and establishing the freedom of expression in contemporary Indonesian Art until today.

• Korean Journal of Heritage: History & Science
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• v.52 no.3
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• pp.38-55
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• 2019

The purpose of this study is to clarify the historical flow of baekdong alloy's usage according to the alloying materials mentioned in document records. For this purpose, we first overviewed the use of copper as a base material for white copper alloys and other types of copper alloys. Baekdong is an alloy of copper and other metals and is currently defined as an alloy of copper and nickel. However, depending on the research subjects and time of the scholars, baekdong may be defined as a metal with over a certain percentage of tin added to copper, or as an alloy of tin, zinc, and lead with copper. There is disagreement regarding the interpretation of this term. Baekdong, which started to appear in the literature of the Three Kingdoms Period, has been steadily seen through the Goryeo and Chosun Dynasties to the modern period. It has been used in various ways, according to each age and culture, from the symbol of the office to trading goods, daily life goods, and money. In the literature, baekdong's alloying material is not only copper and nickel, which are currently defined as alloys, but it is the same in that copper is used as the base metal of the alloy, although it varies slightly from generation to generation. In addition to copper, tin, zeolite, and emerald, zinc and lead also appeared. It was found that baekdong, which means alloy, and baekdong, which means white metal, were mixed. Nickel, which is the alloy material of baekdong as it is currently defined, is a metal with a relatively high discovery time and is widely used as a material for modern industrial fields. Nickel was introduced into Korea at the end of the Joseon Dynasty, but its use is not known in detail. In this study, we examined the acceptance and use of nickel-based baekdong in articles of modern newspapers and in statistical data. Based on the experience of craftsmen, we estimated the period when nickel-based alloys were used in crafts. Material is a direct factor in the development and deterioration of technology, and the development of technology is the basis for the changing of civilizations and cultures. In this context, this study was to investigate baekdong with the material of alloys as a starting point.

• The Journal of the Convergence on Culture Technology
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• v.7 no.3
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• pp.187-195
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• 2021

Nam Nong Heo Geon(1908-1987) re-recognized and re-created the tradition of Korean Namjong painting by excluding Japanese art forms after liberation. He is a great painter in the Korean art world, who has succeeded and developed Korean Namjong Painting in a modern way, pioneering a new field of 'NewNamhwa' with a composition that fuses modern Western style and real scenery. Based on optimism, Namnong's painting world can be divided into three periods: the 'Namnong Sanin' period in the 1930s, the 'Namnongoesa' period from the mid-1940s to the early 1950s, and the 'the owner of Unlimsanbang' period after that. The Namnong Sanin period is a period in which the painting style handed down from the traditional namhwau family of Sochi and Misan is fully acquired, and the Japanese painting style for the exhibition in Seonjeon is reflected, and the local real scenery is treated a lot, and the two styles are mixed. In the Namnong-oesa period, after liberation, a new formativeness was explored in the traditional Namhwa style. In particular, based on the scenery and sentiments of the southern provinces, he focused on local and landscape paintings, depicting real landscapes with lyricism and local love, while expressing subjects with fast brush strokes, a worndown writing brush, and dry brushes, along with freehand adjustment of shading. The period of the owner of unlimsanbang is in accordance with the flow of modern art to some extent, but is gradually omitted as a composition full of academic fragrance that draws a meaning befitting traditional painting. I painted a lot of lyrical landscapes and pine trees of sumugdamchae. Namnong named it 'NewNamhwa'. Namnong established 'Namhwa Research Institute' and worked hard to nurture his disciples, where Im-in's son Heomun and Namnong's eldest grandson Heojin practiced, continuing the legacy of the 5th generation Unlimsanbang painter.

• The Journal of the Convergence on Culture Technology
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• v.8 no.5
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• pp.271-278
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• 2022

This study attempted to prepare basic data for international students with Vietnamese nationality in Korea to identify positive psychological capital, social support, social presence, and quality of life and to prepare support measures to improve their quality of life. Data collection is from May 1, 2021 to June 30, 2021, and was conducted through an online survey for anonymity and convenience. For data analysis, the IBM SPSS/25 statistical program was used, and the significance level for the results was measured as .05, and the reliability of each measurement tool was calculated. The results of this study are summarized as follows. First, the age of the subjects was '24 years old-27 years old', and women accounted for the majority. In the fourth grade, the fourth grade was the most, with "outgoing" personality, "sometimes" experiences of interpersonal conflict, "more than four years and less than five years" in the period of residence in Korea, and the level of Korean proficiency was "grade three." Second, the average quality of life of Vietnamese international students was 3.52 points (out of 5 points), positive psychological capital was 3.98 points (out of 6 points), social support was 2.96 points (out of 4 points), and social presence was 3.59 points (out of 5 points). Third, in the case of the quality of life of Vietnamese international students, there was a significant difference according to their personality, and as a result of post-verification, the quality of life of the 'extroverted' group was higher than the 'mixed' group. There was a significant difference according to interpersonal conflict), and as a result of post-examination, the "no conflict" group had a higher quality of life than the "conflict frequent" group. Fourth, the factors that most affected the subject's quality of life were social support, positive psychological capital, and personality (extroverted). The explanatory power of the model was 33.2%.