• The Journal of the Korea Contents Association
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• v.20 no.2
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• pp.127-140
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• 2020

Since the first episode of (1995) by Pixar, a world leading animation company, 3D animation has been focused on realistic motion and rendering techniques. However, in 2018, 3D animation was released, with unique backgrounds created through illustration techniques and dynamic movements of characters that seemed to be produced by hand rather than computers. It shows a lot of difference from other 3D animations. In this study, I analyzed 's new production techniques and expressions into two categories, first, the use of old comics techniques, and second, other factors that made the animation stand out. in 3D animation market focused on realistic motion and rendering techniques can have positive implications in terms of expanding animation diversity. This study is expected to be used as academic or research data for researchers studying new production techniques in related fields.

• KOREAN JOURNAL OF CROP SCIENCE
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• v.8 no.1
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• pp.69-81
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• 1970

1. Four soybean varieties in pure stand and mixtures were grown in 20 competition treatments of genotypes at within-row spacings of 5, 10, 20, 40, and 80 cm and were investigated in 10 characters for different genotypes. 2. Yield, weight of 100 seeds, height, number of branches, pods per plant, and seeds per pod were highly significant for within-row spacing treatment. 3. There was no spacing treatment effect for number of nodes and days to flower. Maturity did not respond equally in four varieties for spacing effect. 4. Fruiting period was influenced by spacing treatment. Height and number of branches were increased as within-row spacings were increased. Seed yield per area was increased oppositely. 5. Difference between fertilizing and non-fertilizing treatment was not significant in this experiment. At 80 cm spacing no competition effect occurred for yield. 6. In the competition effect, Kumkang Daerip was strong competitor ani Chungbuck Back and Shelby were weak competitors. 7. The within-row spacing of uniformity in roder to increase yield per area was proved as 20 cm in this study. 8. Oil percent was increased as spacings were increased and protein percent was as spacings were decreased.

• Journal of English Language & Literature
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• v.54 no.4
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• pp.531-560
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• 2008

I hope to demonstrate in this paper the degree to which the works of Leonard and Virginia Woolf, mainly The Wise Virgins, The Village in the Jungle, and The Voyage Out, are contained within the politics of home. In doing so, I aim to challenge some mainstream criticism that affirms their resistance to British imperial desire. Although their statuses as outsiders in the British Empire, being a Jew and being a woman respectively, allowed Leonard and Virginia Woolf to criticize British imperialism and a male-dominated culture as well as racial and cultural hierarchies to a degree, their works inevitably unveil their prioritization of the British white-oriented space. In some ways their authorial positions in relation to their texts uphold the imperial center as an invisible regime of truth in their narratives, supporting the patriarchal and imperial binary oppositional structure and its hierarchical order imposed not only on the British subject but also on the foreign, colonial others. Leonard's and Virginia's inconsistencies and ambiguities betray their racial distantiation and notions of British white superiority, as disclosed in their racially stereotyped descriptions and the absence of real communication between the British characters and the colonial, foreign others. The work of self-repetition, the major mechanism in the politics of home, dies hard in Leonard's and Virginia's 'antiimperial' works. Leonard's and Virginia's struggle to stand against the imperial desire needs a genuine ethical position in order to embrace the Other, which would allow us to explore further and guard against the pitfall of postcolonial criticism's being easily degenerated into a neo-colonial criticism, another politics of home.

• Cross-Cultural Studies
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• v.29
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• pp.257-285
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• 2012

The theme of Caucasus in Russian literature stemmed from A. Pushkin's The Prisoner of the Caucasus (1820) became expended when it reached to writer Bestuzhev-Marlinsky. The writer's magnum opus, Allamat-Bek (1832), was based on a real historical event. Being proponent to the side of Russian ideology, this work strongly presents that the primary task the Russian Imperialist government paused in this region at the time was civilization of the Caucasus through diplomatic and humanistic ways. There are three main protagonists in this work, but Berkhovsky and Sultan Akhmet-Khan are the characters who stand for the contradictory views toward the "war between Russia- Caucasus." While the former, Berkhovsky, thinks that the conflict between the two parties might be solved by means of communication and cooperation, the latter, on the other hand, is opposed to any of peaceful completion of this war. Allamat-Bek, the main hero of this work, however, passes away, going back and forth between loyalty and renegation. The author goes on to describe that Berkhovsky considers the Caucasus as Eden, the land of fruits, unlike Russia which appears as the land of labor. Yet, for Berkhovsky the Caucasus is presented as the land which needs enlightenment. This is the transformation of the so-called typical Western Orientalism. Bestuzhev-Marlinsky does not take side of either evil or good between the Russian Orthodoxy and the Islam, that is the conflict between the two opponent parties. The writer, instead, argues that this is just difference between the familiar and the strange, that is, the svoi and the chuzhoi. What is the very picture the writer wants to show the reader, then, is that it is petty and sad to see the unavoidable violent progress which happened and experienced by the indigenous people during the civilization of the Caucasus by the Russian Imperialist government.

• The Journal of the Korea Contents Association
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• v.19 no.8
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• pp.44-57
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• 2019

As dance performances in the theater space are centered on text, they have plots and make characters stand out. They also emphasize expressivity and technique, and their recognition of space is very modern and typical of dichotomous Cartesian thinking. The museum space has many similarities with the theater space in that it is a result of modernity and granted authority to present arts. The performances in museums place value more on the presence than on the representation. For this reason, works in museums, which are frequently presented in recent years, are mainly works of site-specific or performative concepts. Now, rather than being able to obtain from aesthetics defined as works, the museum is assured its own aesthetic production and justification, paying attention to the performance as an event occurring now and here.

• Journal of English Language & Literature
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• v.55 no.6
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• pp.1035-1056
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• 2009

Korean adoptee narratives have proliferated over the last ten years as adopted Koreans have begun to represent their own experiences of violent dislocation, displacement and loss in various forms of literary and artistic works, including poems, autobiographical works, novels, documentaries and films. These narratives by Korean adoptees have intervened in the current diaspora discourse to question further the traditional categories of race, ethnicity, culture and nation by representing the unique experiences of the forced and involuntary migration of adopted Koreans. For a long time, the adoption discourse has been mostly constructed from the perspectives of adoptive parents. Therefore the voice of adoptees as well as that of the birth mothers have not been properly heard or represented in adoption discourse. According to Hosu Kim, the U. S. adoption discourse, feeling pressured to deal with the stigma of the commodification of children, changed from viewing the adoptees as children who had been rescued from poverty and abandonment to considering them as a gift from the birth mothers. With the emergence of the gift rhetoric in transnational adoption, the birth mothers erased from adoption discourse have begun to be acknowledged as one of the central characters in the adoption triad. If Korean adoptees are the "the ghostly children of Korean history," the birth mothers are their "ghostly doubles" who "bear the mark of a repressed national trauma." Somebody's Daughter represents the female experiences of becoming an adopted child and of being a birth mother. In particular, the novel makes a birth mother, the forgotten presence in adoptee narratives, into a central figure in the triangular relationship created by international adoption. The novel historicizes the experiences of a Korean adoptee growing up in America as well as those of a mother who had suffered silently from feelings of unbearable loss, guilt, grief and from unforgettable memories. In addition, narrating the birth mother's story is a way to give humanity back to these forgotten women in Korean adoption history. Revisiting the site of loss both for a mother and a daughter through the novel is an act of collective mourning. The narratives about and by Korean adoptees force Korean intellectuals to reflect seriously upon Korean society and its underlying ideology which prevents a woman from mothering her own baby, and to take an ethical and political stand on this current social and political issue.

• Journal of Forest and Environmental Science
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• v.26 no.3
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• pp.219-223
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• 2010

It has long been recognized that wild vegetation are sort of improving fitness. Many peoples are now ingesting them instead of the vegetables that are grown in green house. In this regard, Parasenecio firmus, which is considered to be one of the rare species in Korea, has been given a lot of attentions as edible green plants recently. Hence it may be necessary to provide the information people who want to commercially cultivate the plants. Regarding appropriate forest stands that are fit for the cultivation. Firstly, we collected the seeds from 4 natural habitats to find out how many seeds are fully matured in the natural conditions. The quality of the seeds collected were found to be very low. However, it appeared as clear differences when screened seeds were grown in covered seed beds over winter. In this case the germination rate of the seeds was 95%, indicating that there may be no difficulty for mass production of plantlets. Secondly, in the field of planting test in an appropriate cultivating site among 6 of forest stands, those in Pinus koraiensis stand were the highest in survival rate, but somewhat low with those in Quercus mongolica and broad-leaved stands. Thus, it was demonstrated that forest stands dominated with conifer like P. koraiensis are more appropriate for the cultivation of P. firums.

• KOREAN JOURNAL OF CROP SCIENCE
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• v.28 no.1
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• pp.122-127
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• 1983

Germination and seedling emergence of 40 barley cultivars and lines having been bred in Korea were studied under different water and salt stress conditions containing different sucrose and KC1 concentration in laboratory at Suweon. This study revealed that the barley cultivars and lines differed markedly in their emergence rate index(ERI), total stand(TS), coleoptile length, seedling height, top and root weight. Those characters of the most cultivars were progressively reduced as water and salt stress increased. Jogangbori, Dongbori 1, SB 77460 and SB 77415 were less sensitive to both stress and will be useful for breeding sources. ERI was highly correlated with TS, coleoptile length and seedling height. ERI and TS between two different solutions were correlated each other, and this study indicated that for screening the varieties or lines tolerant to water and salt stress, both ways were available and should be screened genetic materials with a good germination and emergence rate in I stress conditions.

• Journal of Korean Society of Forest Science
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• v.81 no.1
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• pp.1-10
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• 1992

This study was conducted to explain the characters of the structure of biomass production in the thrifty-mature Quercus mongolica stands and investigate the relationships between the leaf weight or leaf area and the sapwood area in the bole. Also we intended to identify the allocation ratio of stem, branches, and leaves or heartwood, sapwood and bark in trees and the characters of productive structure of stem and leaf biomass by the tree height. The results obtained were as follows : 1. The allocation ratio of biomass based on dry weight was 70-84% in stem, 11-25% in branches, and 3-6% in leaves. 2. In the bole, the ratios of composition of heartwood, sapwood, and bark were showed 37-43%, 38-46%, and 16-19%, respectively. 3. The volume of sapmood was exceeded more than that of heartwood in dominant and intermediate trees, while it was reversely appeared in suppressed trees. 4. The weight and area of leases significantly correlated with the sectional area of sapwood in bole (r>0.9. 1% significant level). 5. The ratio of leaf area($m^2$) to sapwood areal($cm^2$), k varied 0.35 to 2.05. 6. The basal diameter and the cross sectional area of a branch significantly correlated with the leaf weight r>0.9. 1% significant level. 7. The leaf weight in a tree is showed a normal distribution curve and the accumulative volume of bole is showed a tapering type.

• Journal of the Korean Society of Costume
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• v.56 no.4 s.103
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• pp.108-123
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• 2006

This Study is about the color images oi clothes in the early 20th century in the Eastern and Western culture and the recreation of this color images through modern costume design in film. The aim of this study is to show how early 20th century color has born reinterpreted through present film costumes and how different cultural perspectives can influence color images. For the purposes of this study, 30 pictures of clothing, representative of the early 20th century, as well as films which have been internationally recognized for their costume design and strong cultural identity('Farewell M) 'Concubine', 'Raise the Red Lantern', 'Chicago' and 'The English Patient') were chosen and analyzed. The color image of these photographs and scenes from the movies were divided by Pantone Solid Chips and categorized by color groups such as red, orange, yellow, green, blue, violet, neutral and metallic. The analysis results of the color images in the early 20th century showed that the red group was used a lot in both cultures and the orange group was more often used in the West. In regards to the yellow group, goldish yellow were commonly used in the West but pale yellow was preferred in the East. The green group more used In the West but the blue group appears more in the East. Also, there were differences in color combination, texture and technique which demonstrates different cultural color recognition and association. In the case of film color image, present color image was added to past color image. In the West, color was used as a tool for visualizing the state of characters' mind and the mood of movies' story but in the East color image was intended to make the character stand out by changing the value and chroma. By comparing the color image of clothes from the early 20th century and color image from film in the West and the East, it is possible to analyze the cultural symbolic image of color. This study is one of first trials to analyze the cultural differences in rotor images and their symbolic meaning. Thus, further studies should persue to find out the influence of culture on the rotor image in terms of specific quantity and quality.