• Journal of the Korea Concrete Institute
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• v.17 no.4 s.88
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• pp.569-579
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• 2005

An investigation for long-term strength characteristics of crushed sand concrete using crushed sands produced in Yang-san, Kim-hae and Jin-hae that can be assumed to respectively represent eastern, middle and western suburbs of Busan has been carried out. Concrete is composed of 70~80% of aggregates in whole volume so the effect of aggregates quality to the characteristics of concrete is very important. Since 1980s, aggregates used in concrete have already been substituted crushed stone because of the exhaustion of natural gravel and sand. Crushed sand tends to increase in using quantity because of the prohibition of sea sand picking and deterioration of river sand. Crushed sand is blended with river sand in order to investigate the quality changes and characteristics of concrete as variation of blend ratio of crushed sand (n, 50, 70, 80, 90, 100%). Slump and air content were measured to investigate the properties of fresh concrete. Unit weight, compressive strength and modulus of elasticity in age of 7, 28, 60, n, 180 days were measured to investigate properties of hardened concrete. Compressive strength, unit weight and modulus of elasticity were increased with a passage of time and they are expected to keep on increasing in long-term age as well. The experimental results of the qualifies of crushed aggregates in each producing area, were all satisfied with Korea Standard. The results of the measurement of slump exposed that slump preferably decreased as mixing rate increased till 70~80% but it increased to mixing rate 70~80%. The air content was exposed that it decreased by micro filler phenomenon according to that crushed sand b)ended ratio increased. According to the result of measuring unit weight in age of 7, 28, 60, 90, 180days, it increased in accordance with that blended ratio of crushed aggregates increases. As a result of measuring compressive strength and modulus of elasticity in age of 7, 28, 50, 90, 180days, compressive strength was highest when it is 70% of blended ratio.

• Journal of the Korean Institute of Oriental Medical Informatics
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• v.14 no.1
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• pp.19-42
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• 2008

Blood-Letting Therapy is a rational and ecological medical treatment by which we can heal most of the diseases by removing the static blood which precipitates in the blood vessel and blocks the flowing of blood. And the static blood is the generic term for the injurious, bad, dead and precipitated blood which is blocked the capillary vessel. The Yellow Emperor's Canon of Internal Medicine says that "the patient is treated with drugs internally and stone acupuncture externally. "In the old texts, the blood-letting therapy is mentioned as blood-letting, network vessel pricking, bloodletting, pricking, and arousing pulses etc and it is noted down as the method of network vessel pricking in 'On the Application of Needles' of Spiritual Pivot. Nine-pricking therapy, twelve-pricking therapy and five-pricking therapy are recorded in the methods of network vessel pricking and among them, the method of squeezing blood after pricking the affected part is explained as the network vessel pricking. There are four methods of network vessel pricking, pricking, picking, cluster needling and scatter-pricking and they are fluidly applied to the various symptoms of diseases. In 'On Discriminative Treating for Patients of Different Regions' in Elementary Questions, Ki-baek emphasizes "most of the local people, there are black in skin and loose in striate, and their diseases are mostly of carbuncle kind. It is suitable to treat the disease with stone therapy to prick with stone, so the stone therapy is transmitted from the east. "And in 'On the Corresponding Relation Between the Eum and Yang of Man and All Things' in Elementary Questions, when the Emperor asked Ki-Back, he answered "sthenia means the sthenia of evil, and deficiency means the deficiency of healthy energy. When the blood is sthenic, the evil should be discharged by pricking when out letting the blood; deficiency of vital energy is the asthenia of channels and network vessels, so the energy should drain from the channel which is not deficient, to replenish. "And in this case we can use the methods of 'Breaking out the static bloods', 'driving out the static bloods', blood-letting'. With this we can infer that the blood-letting therapy is made use of the important medical treatments from the ancient times. Especially in referring to the principles of treatment in The Yellow Emperor's Canon of Internal Medicine, it mostly alluded to acupuncture therapies and only eleven times to medicinal treatments. This is to verify that the blood-letting therapy formed the foundation of the medical art. In Dong's Therapy of Acupuncture-Moxibustion and Bloodletting, Dong Kyeong-Chang gave emphasis on the points that there must be extravasated bloods without exception in the serious illnesses which is old, unnatural, accompanying acute pains and so we can revive our body‘s sprit by circulating 'gi' and static blood piled up in the network vessel, regulating the weakness and strength, and controling the disharmony of the internal organs. The blood-letting therapy has effect on the orifice in emergency, such as fore draining, freeing network vessels, harmonizing gi and blood, relieving pain, dispersing swelling and concretion, sedation, resolving toxin as well as strengthening the heart, relieving itching. So it has distinguished effect on all kinds of medical treatment to the modern people. But by the change of social customs and the confucianism of confucius - it is widely spread on the period of North and South Dynasties, 'Wi' and 'Jin' in china and the period of the Three States in korea - The blood-letting therapy which was regarded as the most important medicinal treatment withered rapidly. And Confucius accentuated the importance of our body and all its members, loyalty and filial piety and banned any damage of our body under no circumstances. As a result of it, the therapy of blood-letting had a rapid decrease and barely kept itself in existence in both countries. What is worse, at the period of Japanese colonial rule of korea and our nation's founding of early stage, it has been withered by the high-handed policy to change Oriental Medicine into modern medical science. So the therapy of blood-letting barely kept itself in existence in some Buddhist temples. Another case, it has handed down as a old-fashioned quick fix in folk remedies. But all kinds of the contamination of heavy metals and the misuses of antibiotics are widely spread nowadays, which increased diseases of adult people and incurable diseases as modern society unavoidably made its way into a highly industrial society. To make us more miserable, the western medical science - the antibiotics and surgical operation medical science - already reveals itself into a limit. The necessity of a new medical science which can give a security to the patients who are suffering from the diseases of adult people and the incurable diseases is especially come into the force nowadays. In view of the results after bibliographically studying on the blood-letting Therapy in Elementary Questions of the Yellow Emperor's Canon of Internal Medicine, the blood-letting therapy has acted for the important Oriental medicinal science and has been clarified the prominent effects on the diseases of adult people and the incurable diseases. So it is regarded as an appropriate thing that we lay out a determined theory of the blood-letting therapy and of course prevent the unwanted side effects from inappropriate medicinal treatments, and make full use of clinic by elevating the curative value and that we win back our self-respect of medical treatment which is dominated from the western medical science and ultimately contribute to national medical welfare.

• Horticultural Science & Technology
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• v.19 no.1
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• pp.60-65
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• 2001

'Shinil' pear cultivar (Pyrus pyrifolia Nakai) which was originated in a cross between 'Shinko' (non-patented, released in 1941) and 'Hosui' (non-patented, released in 1972) in 1978 was released as a middle season harvest variety. Its usual picking time coincided with 'Chuseok' season which is one of the most famous national holiday in Korea. The fruit showed high soluble solids content and good appearance. The cultivar was preliminarily selected in 1991, and its regional adaptability was evaluated in the name of 'Wonkyo Na-13' at 9 sites for four years from 1992, and finally selected and named in 1995. 'Shinil' is medium in tree vigor like 'Hosui' and spreading in tree habit as 'Niitaka', a leading cultivar in Korea, and consistently very productive. It has high resistance to black rot caused by Alternaria kikuchiana and pear necrotic spot caused by pear necrotic spot virus. Its full bloom is one day earlier than that of 'Niitaka' cultivar and harvest time is September 25 at Suwon area which is 3 days later than that of 'Hosui'. Fruit is round in shape with a deep medium stalk cavity and medium calyx basin and has attractive light yellow brown skin color. The fruit weight ranges between 300 and 400 g, which is similar to 'Chojuro', 'Shinko', and 'Hosui'. Soluble solid content is approximately at the level of 13-14 Brix, which is higher than that of 'Chojuro'. The flesh is cream-white, very juicy, and light grit with soft and fine texture.

• Korean Journal of Environmental Agriculture
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• v.38 no.3
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• pp.166-172
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• 2019

BACKGROUND: Increase in the ratio of small berries in blueberry production decreases the farmers' profits due to weakening market competitiveness and lowering harvest efficiency. One of the reasons for increased small berries is over fruit-load. For improving productivity and competitiveness of blueberry in Korea, hand-thinning can be applied to increase fruit quality before the developing adequate chemical thinning methods. This study was conducted to investigate the proper timing and methods for floral buds thinning in rabbiteye blueberry. METHODS AND RESULTS: Eight years old bushes of rabbiteye bluberries 'Brightwell' as a primary cultivar and 'Powderblue' as a pollinizer were used for this study. Fruit size distribution by leaf-to-fruit ratio was investigated by counting the number of leaves and fruits in canes of 127 'Brightwell' plants whose fruit set varied. Fifty percent of flowers/floral buds were removed in four different floral buds stages such as bud swell, late pink bud, full bloom, and petal fall, and the consumed time for thinning and fruit characteristics were recorded to investigate the effect and proper timing of floral buds thinning. Fruit weight and soluble solids content tended to increase in proportion to leaf-to-fruit ratio and the production of the number of fruits less than 13 mm in diameter decreased when leaf-to-fruit ratio was more than 2.5. Manual floral buds thinning by hands was fastest in full bloom stage and slowest in bud swelling stage. In all cultivars, fruit size was significantly smaller in non-thinning treatment than thinning, and there was, however, no significant difference in total fruit yield. The number of fruits less than 13 mm in diameter increased in both cultivars as floral buds thinning was delayed. Consumed time for picking 90% berries out of total berries per bush was shortest in full bloom stage thinning in 'Brightwell' and bud swelling, full bloom thinning in 'Powderblue'. These were 25 and 20 days faster than no thinning, respectively. CONCLUSION: Although the effect of floral buds thinning varied depending on the cultivars, our results confirmed that floral buds thinning was effective for the early intensive harvesting and the increase of the large fruit ratio and the harvesting productivity. Also, in order to increase thinning efficiency, it is recommended to remove the flower buds before the full bloom stage.

• Journal of Korean Society of Forest Science
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• v.100 no.1
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• pp.112-117
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• 2011

This study was conducted for searching the functional feeding groups, and community stability of the macroinvertebrate on forest fire area of Uljin-gun. The samples were collected from 2 sites of control area and 2 sites of experimental area during 2007 to 2009. The identified species were 89 belonged to 47 families, 16 order, 6 class, and 4 phylum in control area. And 84 belonged to 43 families, 16 order, 6 class, and 4 phylum were identified in experimental area. As a result of changes in species and individuals of E.P.T. taxa investigated in experimental area by year, Ephemeroptera was 21 species, $2,434.6inds./m^2$, Plecoptera was 3 species, $199.8inds./m^2$, and Trichoptera 14 species, $540.2inds./m^2$ in 2007. And in 2009, Ephemeroptera was 9 species, $296inds./m^2$, Trichoptera was 4 species, $44.4inds./m^2$, and Plecoptera was none, showing that species and individuals belonging to E.P.T. taxa decrease rapidly every year. Community analysis by year, in 2008 when the water system started to be influenced by the fire directly, it showed a trend that H' and RI decreased in the experimental area. Functional feeding group by year, it showed a trend that species and individuals of GC type which is a functional group picking up and eating FPOM (fine particulate organic matter) from deposits in the bottom of water or benthic areas and performs an important function of material circulation in ecosystem decrease every year. Community stability by year, an environment of water system in forest fire area started to be somewhat destroyed, from 2008, it is shown that both species in I area which have great ability of resistance and recovery and species in III area which live in relatively stable water system decreased a little.

• (The) Research of the performance art and culture
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• no.32
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• pp.549-594
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• 2016

This research focuses on 'dramaturgical' performance among all the acts of a director who constructs an artistic structure. This is, specifically, the dramaturgical acts that a director comes to perform in the process of dramatizing a novel. This paper aims to suggest a new kind of approach for productive interaction between drama theory and practice, not only by documenting the process of creation but also by moulding theoretical basis on acts of a director. As you all know, creative acts in practice so far have rarely been considered as subject and purpose of academic study. Even some lucky plays and directors had to settle for fragmentary review. That's mainly because Korean theatrical circles confine the way of recording the whole process of drama in practice only to a piecemeal review of performance. As a result, there have been very few cases of observing comtemporary plays under the historical background of drama. In this regard, this paper desires to raise a question, 'is productive interaction between drama theory and creative practice possible?' and to find the answer. If what is described in this paper can have worth beyond a mere record of creative acts, it may establish theoretical grounds on interpreting the play stage of this era by reading, in the contexts of drama history, a director's dramaturgical performing acts to dramatize a novel. The researcher of this paper, as a director of a theater troupe like a human and artistic community, adapted "Crime and Punishment" by Dostoevsky into four plays. They are , , , , and completed in 2009, 2011, 2012, and 2014, respectively as an independent theatric work having no connections to each other in story. Not only because the four plays share the same novel as its origin but also because an identical system is applied to dramatization of the novel, it gives an opportunity to focus on and perceive the role of the director. During the process of dramatiztion, the director, the researcher of this paper, carried all the duties, such as selecting a text, approaching the text theoretically and academically, adapting it for drama, picking out appropriate episodes. This paper defines all these acts as dramaturgical performing acts. In this sense, this paper can also be seen as a documentary of 'acts' performed during the process of dramatization.

• (The)Study of the Eastern Classic
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• no.54
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• pp.289-318
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• 2014

The purpose of this study was to compare Gwonbeop motions among "Gihyosinseo", "Mubiji", "Muyejaebobunyuksokjib" and to analysis catalogue of books on Gwonbeop for comprehensive interpretation in "Muyedobotongji". the conclusion through literature review was as follows. First, There were total 16 references which were composed of 14 references of China and 2 references of Korea. In particular there was no reference of Japan for Gwonbeop. In detail, unrepresentative references of China were "Hanseo", "Gihyosinseo", "Mubiji" and unrepresentative reference of Korea was Muyejaebobunyuksokjib". Second, We compared motions of Gwonbeop between China and Korea. There were located 5 motions such as Gyungakguheese(False Prey Posture), Gigose(Flag Beating Posture), Ahnshichukshinse(Goose Wing Posture), Jumjoose(Picking Elbow Posture), Pogase(Throwing Shelf Postere). In other three references unmentioned "Mubiji" there were located 8 motions such as Jungranse(Spring Railing Posture), Gichukgakse(Ghost Kicking and Leg Striking Postere), Jidangse(Open Finger Attacking Posture), Soodoose(Beast Head Shield Posture) Shingwon(Heavenly Fist Posture), Il-jopyunse(Whipping Lunging Posture), Jakjiryongse(Dragon Prey Snatching Posture), Joyangsoose(Slanting Hero Hand Posture), In two references of Korea there were located 2 unique motions such as Nachaluichoolmun Gakabyunhase(Low Encountering Posture), Gumgyedongnipse(Single Leg Throwing Postere). Third, Most of all we found two kinds of unique motions such as Chukcheonse and Eungswaeik on "Muyejaebobunyuksokjib" and such as Nachaluichoolmun Gakabyunhase(Low Encountering Posture), Gumgyedongnipse (Single Leg Throwing Postere) on "Muyedobotongji". Based on chronological table although "Gihyosinseo" is the longest literature, there was begun changing techniques in details on literatures of Korea. Transformed into techniques of Gwonbeop on Korea could be supposed that those skills were reflected in society and culture of the Joseon Dynasty. To sum it up, Gwonbeop of "Muyedobotongji" was written by "Gihyosinseo", "Mubiji", "Muyejaebobunyuksokjib" but most motions of Gwonbeop were begun to change gradually except 5 motions of "Gihyosinseo". Especially, there were 8 unique motions which could not be found in references of China. Those unique motions of Korea literatures were living proof of attempting transfiguration from motions of China. The significance of this study was to be able to put stepping-stone to interpretate history of Taekwondo which takes center stage on bare hands martial arts and analyzed the meaning of historical martial arts on Gwonbeop in Joseon Dynasty.

• Geophysics and Geophysical Exploration
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• v.2 no.1
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• pp.26-32
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• 1999

Among the various seismic data processing sequences, the velocity analysis is the most time consuming and man-hour intensive processing steps. For the production seismic data processing, a good velocity analysis tool as well as the high performance computer is required. The tool must give fast and accurate velocity analysis. There are two different approches in the velocity analysis, batch and interactive. In the batch processing, a velocity plot is made at every analysis point. Generally, the plot consisted of a semblance contour, super gather, and a stack pannel. The interpreter chooses the velocity function by analyzing the velocity plot. The technique is highly dependent on the interpreters skill and requires human efforts. As the high speed graphic workstations are becoming more popular, various interactive velocity analysis programs are developed. Although, the programs enabled faster picking of the velocity nodes using mouse, the main improvement of these programs is simply the replacement of the paper plot by the graphic screen. The velocity spectrum is highly sensitive to the presence of the noise, especially the coherent noise often found in the shallow region of the marine seismic data. For the accurate velocity analysis, these noise must be removed before the spectrum is computed. Also, the velocity analysis must be carried out by carefully choosing the location of the analysis point and accuarate computation of the spectrum. The analyzed velocity function must be verified by the mute and stack, and the sequence must be repeated most time. Therefore an iterative, interactive, and unified velocity analysis tool is highly required. An interactive velocity analysis program, xva(X-Window based Velocity Analysis) was invented. The program handles all processes required in the velocity analysis such as composing the super gather, computing the velocity spectrum, NMO correction, mute, and stack. Most of the parameter changes give the final stack via a few mouse clicks thereby enabling the iterative and interactive processing. A simple trace indexing scheme is introduced and a program to nike the index of the Geobit seismic disk file was invented. The index is used to reference the original input, i.e., CDP sort, directly A transformation techinique of the mute function between the T-X domain and NMOC domain is introduced and adopted to the program. The result of the transform is simliar to the remove-NMO technique in suppressing the shallow noise such as direct wave and refracted wave. However, it has two improvements, i.e., no interpolation error and very high speed computing time. By the introduction of the technique, the mute times can be easily designed from the NMOC domain and applied to the super gather in the T-X domain, thereby producing more accurate velocity spectrum interactively. The xva program consists of 28 files, 12,029 lines, 34,990 words and 304,073 characters. The program references Geobit utility libraries and can be installed under Geobit preinstalled environment. The program runs on X-Window/Motif environment. The program menu is designed according to the Motif style guide. A brief usage of the program has been discussed. The program allows fast and accurate seismic velocity analysis, which is necessary computing the AVO (Amplitude Versus Offset) based DHI (Direct Hydrocarn Indicator), and making the high quality seismic sections.

• (The) Research of the performance art and culture
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• no.34
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• pp.277-313
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• 2017

This study is to find out the correlation with buddhist music after analyzing the rhythm of six pieces of PanYeombul sung by Kim Janggil out of Ogu exorcism of East coast the findings summarized are as follows. First, PanYeombul by Kim Janggil, performed on Oct, 16, 2016, was composed of , , , , , , , , , , and . Still, even if PanYeombul is performed by the same male shaman, the composition can be added or left out depending on some circumstances, which means the procedures are flexible. Seeing that there is common component of in additoin to compared with Kimyongtaek, it can be said that the component of is an important part in PanYeombul of Ogu exorcism of East coast Second, is usually referred to 'SinmyojangguDaedalani' in buddhist ritual, While Kim yongtaek accepts this practice in title, Kim Janggil uses 'YeomhwajangguDaedalani' as the title which makes his song different from others. Yeomhwa means "picking up flowers with fingers" which has been used in buddhism, not in common Considering this fact, the conclusion can be reached that by using the term 'Daedalani' from a buddhist chant, but making differentiation from buddhism, Kim Janggil is making the effort to be different from buddhist rituals. give some unique meaning to shaman rituals. Third, PanYeombul of Ogu exorcism of East coast may be divided into two main parts - the former part is PanYeombul and the latter part is Jiokga. In performing PanYeombul, male shaman sits singing alone and playing Jing himself, on the other hand, in case of Jiokga, he stands singing a solo with gwaeggwari in his hand accompanied by other musicians with the rhythm of Samgongjaebi. As the song and the accompaniment are in the form of giving and taking like duet. it is in peak in terms of music. Accordingly, PanYeombul can be divided into PanYeombul and Jiokga, But since it is performed by one male shaman and sung a solo, it is usually seen as one procedure. Jing, which is a kind of accompaniment in PanYeombul by Kim Janggil, has the role to distinguish a phrase and settle the musical paragraph. When the buddhist chant with one word-one note is performed. it requires the performer to catch his or her breath or clear throat. Just then, Jing comes out for filling out the intervals. Also, its role to distinguish a phrase and settle the musical paragraph helps make it clear to deliver words. The rhythm of Jing is mostly made up of small triple time except equal small binary time, comes out with overwhelmingly more frequency of Sutsoe(♪♩) than Amsoe(♩♪), and often shows syncopation. By often using Off Beat or short-long rhythm even in accompaniment of equal small binary time, he tris to give some variation to monotonous and equal rhythm for the musical vitality. These are similar to Sutsoe rhythm which can evoke tension and Kim Janggil makes these things his characierisiic of rhythm. Fifth, all the pieces consist of mi, sol, la, do, re and the descending melody like do'${\searrow}$la${\searrow}$sol${\searrow}$mi appears most frequently. The descending melody usually arouses the feeling of sorrow, so the sadness for the deceased is presented properly, which suggests his musical talent. Generally, pieces take on Menari-tori as a whole where the length of sol appears for a short time in descending la${\searrow}$sol${\searrow}$mi of perfect four degrees. Sixth, Even he accepts the lines of buddhist chant, he changes them in some degree. For example, he inserted some words between lines like 'Wonwangsaeng' and 'NamuAmitabul' and added Korean words like hapsosa to the lines of buddhist service written in Chinese character. Also, he inserted some words like 'iiiiiii~' to express the feeling of sadness. These are to maximize the desire of the deceased to go to the heaven and at the same time to diminish the sign of buddhism and strengthen the features of shamanism. Seventh, the effort to decrease the sign of buddhism is made in pasting lines of two songs. For example, Between the last words 'Wonsuaenapsu of Dage and the first words 'Jisimgwimyeongrye' of Chiljeongrye, there is usually a short pause to distinguish paragraphs, But he continues two songs without any pause to get rid of the feelings of buddhist chant. In terms of melody, he makes a distance from buddhist chant in an effort that he gives some traits to shaman rituals which are different from buddhist even if he uses the lines of buddhist rituals. Eighth, the analyzed pieces can be in four categories - no regular melody , , equal small binary time , eotmori melody of ten eighth time with 3+2+3+2 mixed small time . and Samgongjaebi melody 3+2+3 mixed small time . Each piece has its unique melody. Although of buddhist ritual is often performed, by using eotmori melody, he evokes the feeling of shaman and is another example of giving unique characteristic to the shaman of East coast by using Samgongjaebi melody.