• Atmosphere
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• v.21 no.4
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• pp.349-359
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• 2011

The climatology in stratospheric ozone over the Korean Peninsula, presented in previous studies (e.g., Cho et al., 2003; Kim et al., 2005), is updated by using daily and monthly data from satellite and ground-based data through December 2009. In addition, long-term satellite data [Total Ozone Mapping Spectrometer (TOMS), Ozone Monitoring Instrument (OMI), 1979~2009] have been also analyzed in order to deduce the spatial distributions and temporal variations of the global total ozone. The global average of total ozone (1979~2009) is 298 DU which shows a minimum of about 244 DU in equatorial latitudes and increases poleward in both hemispheres to a maximum of about 391 DU in Okhotsk region. The recent period, from 2006 to 2009, shows reduction in total ozone by 6% relative to the values for the pre-1980s (1979~1982). The long-term trends were estimated by using a multiple linear regression model (e.g., WMO, 1999; Cho et al., 2003) including explanatory variables for the seasonal variation, Quasi-Biennial Oscillation (QBO) and solar cycle over three different time intervals: a whole interval from 1979 to 2009, the former interval from 1979 to 1992, and the later interval from 1993 to 2009 with a turnaround point of deep minimum in 1993 is related to the effect of Mt. Pinatubo eruption. The global trend shows -0.93% $decade^{-1}$ for the whole interval, whereas the former and the later interval trends amount to -2.59% $decade^{-1}$ and +0.95% $decade^{-1}$, respectively. Therefore, the long-term total ozone variations indicate that there are positive trends showing a recovery sign of the ozone layer in both North/South hemispheres since around 1993. Annual mean total ozone (1985~2009) is distributed from 298 DU for Jeju ($33.52^{\circ}N$) to 352 DU for Unggi ($42.32^{\circ}N$) in almost zonally symmetric pattern over the Korean Peninsula, with the latitudinal gradient of 6 DU $degree^{-1}$. It is apparent that seasonal variability of total ozone increases from Jeju toward Unggi. The annual mean total ozone for Seoul shows 323 DU, with the maximum of 359 DU in March and the minimum of 291 DU in October. It is found that the day to day variability in total ozone exhibits annual mean of 5.7% in increase and -5.2% in decrease. The variability as large as 38.4% in increase and 30.3% in decrease has been observed, respectively. The long-term trend analysis (e.g., WMO, 1999) of monthly total ozone data (1985~2009) merged by satellite and ground-based measurements over the Korean Peninsula shows increase of 1.27% $decade^{-1}$ to 0.80% $decade^{-1}$ from Jeju to Unggi, respectively, showing systematic decrease of the trend magnitude with latitude. This study also presents a new analysis of ozone density and trends in the vertical distribution of ozone for Seoul with data up to the end of 2009. The mean vertical distributions of ozone show that the maximum value of the ozone density is 16.5 DU $km^{-1}$ in the middle stratospheric layer between 24 km and 28 km. About 90.0% and 71.5% of total ozone are found in the troposphere and in the stratosphere between 15 and 33 km, respectively. The trend analysis reconfirms the previous results of significant positive ozone trend, of up to 5% $decade^{-1}$, in the troposphere and the lower stratosphere (0~24 km), with negative trend, of up to -5% $decade^{-1}$, in the stratosphere (24~38 km). In addition, the Umkehr data show a positive trend of about 3% $decade^{-1}$ in the upper stratosphere (38~48 km).

• Korean Journal of Poultry Science
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• v.33 no.1
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• pp.57-63
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• 2006

This study was conducted to investigate the effect of ventilating system of environmental controlled broiler house on broiler production. Three hundred eighty four broiler chicks (Hubbard, mean live weight of $44.5{\pm}2.0g/bird$) were reared for 2 wk. The results of the present study were summarized as follows : 1. Ammonia gas production was lower in the second and the third floors of cages compared with first floor of cages 13.5 and 13.5 vs 14.6 ppm, respectively). The observations of ammonia production in the morning and afternoon were similar. The production of carbon dioxide was not different between morning and afternoon, but it was tended to decrease in the forth floor of cages due to a fresh air 2. A wind velocity in the enclosed house was similar across lower, middle and upper section (0.57m/sec, 0.22m/sec and 0.04msec, respectively). In order to maintain an optimal air flow velocity in the cages, the duct entrance was punched, and then the air flow was full-round in the overall space in the cage. 3. Daily liveweight gain, feed intakes, and feed efficiency were not significant differences among treatments during whole experimental period (P>0.05). Therefore, the present results showed that temperature, moisture and atmosphere controlling were desirable, and air flew evenly in the cage.

• (The) Research of the performance art and culture
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• no.43
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• pp.47-78
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• 2021

This study was written to examine the acceptance of pansori in movies based on pansori, and to explore changes in modern society's perception and expectations of pansori. A pansori is getting the love of the upper and lower castes in the late Joseon period, but loses the status at the time of the Japanese colonial rule and Korean War. In response, the country designated pansori as an important intangible cultural asset in 1964 to protect the disappearance of pansori. Until the 1980s, however, pansori did not gain popularity by itself. After the 2000s, Pansori tried to breathe in with the contemporary public due to the socio-cultural demand to globalize our culture. And now Pansori is one of the most popular cultures in the world today, as the pop band Feel the Rhythm of KOREA shows. The changing public perception of pansori and its status in modern society can also be seen in the mass media called movies. This study explored the process of this change with six films based on pansori, from "Seopyeonje" directed by Lim Kwon-taek in 1993 to the film "The Singer" in 2020. First, the films "Seopyeonje" and "Hwimori" were produced in the 1990s. Both of these films show the reality of pansori, which has fallen out of public interest due to the crisis of transmission in the early and mid-20th century. And in the midst of that, he captured the scene of a singer struggling fiercely for the artistic completion of Pansori itself. Next, look at the film "Lineage of the Voice" in 2008 and "DURESORI: The Voice of East" in 2012. These two films depict the growth of children who perform art, featuring contemporary children who play pansori and Korean traditional music. Pansori in these films is no longer an old piece of music, nor is it a sublime art that is completed in harsh training. It is only naturally treated as one of the contemporary arts. Finally, "The Sound of a Flower" in 2015 and "The Singer" in 2020. The two films constructed a story from Pansori's history based on the time background of the film during the late Joseon Dynasty, when Pansori was loved the most by the people. This reflects the atmosphere of the times when traditions are used as the subject of cultural content, and shows the changed public perception of pansori and the status of pansori.

• Sim-seong Yeon-gu
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• v.26 no.1
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• pp.36-66
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• 2011

The goal of this article is to examine the connection between creativity of unconscious and religion. Jung criticized how Freud's approach in studying the unconscious as a scientific inquiry focuses on the unconscious as reflecting only those which is repressed by the ego. Jung conceived of the unconscious as encompassing not only the repressed but also the variety of other psychic materials that have not reached the threshold of the consciousness in its range. Moreover, since human psyche is as individualistic as is a collective phenomenon, the collective psyche is thought to be pervasive at the bottom of the psychic functioning and the conscious and the personal unconscious comprising the upper level of the psychic functioning. Through clinical and personal experience, Jung had come to a realization that the unconscious has the self-regulatory function. The unconscious can make "demands" and also can retract its demands. Jung saw this as the autonomous function of the unconscious. And this autonomous unconscious creates, through dreams and fantasies, images that include an abundance of ideas and feelings. These creative images the unconscious produces assist and lead the "individuation process" which leads to the discovery of the Self. Because this unconscious process compensates the conscious ego, it has the necessary ingredients for self-regulation and can function in a creative and autonomous fashion. Jung saw religion as a special attitude of human psyche, which can be explained by careful and diligent observation about a dynamic being or action, which Rudolph Otto called the Numinosum. This kind of being or action does not get elicited by artificial or willful action. On the contrary, it takes a hold and dominates the human subject. Jung distinguished between religion and religious sector or denomination. He explained religious sector as reflecting the contents of sanctified and indoctrinated religious experiences. It is fixated in the complex organization of ritualized thoughts. And this ritualization gives rise to a system that is fixated. There is a clear goal in the religious sector to replace intellectual experiences with firmly established dogma and rituals. Religion as Jung experienced is the attitude of contemplation about Numinosum, which is formed by the images of the collective unconscious that is propelled by the creativity and autonomy of the unconscious. Religious sector is a religious community that is formed by these images that are ritualized. Jung saw religion as the relationship with the best or the uttermost value. And this relationship has a duality of being involuntary and reflecting free will. Therefore people can be influenced by one value, overcome with the unconscious being charged with psychic energy, or could accept it on a conscious level. Jung saw God as the dominating psychic element among humans or that psychic reality itself. Although Jung grew up in the atmosphere of the traditional Swiss reformed church, it does not seem that he considered himself to be a devoted Christian. To Jung, Christianity is a habitual, ritualized institution, which lacked vitality because it did not have the intellectual honesty or spiritual energy. However, Jung's encounter with the dramatic religious experience at age 12 through hallucination led him to perceive the existence of living god in his unconscious. This is why the theological questions and religious problems in everyday life became Jung's life-long interest. To this author, the reason why Jung delved into problems with religion has to do with his personal interest and love for the revival of the Christian church which had lost its spiritual vitality and depth and had become heavily ritualized.