• Title, Summary, Keyword: 역할비중

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Comparison of Nutritional Compositions between Amaranth Baby-Leaves Cultivated in Korea (국내 재배 아마란스 어린잎의 영양성분 비교)

  • Jang, Hye-Lim;Yoo, Min;Nam, Jin-Sik
    • Journal of the Korean Society of Food Science and Nutrition
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    • v.45 no.7
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    • pp.980-989
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    • 2016
  • In the present study, we compared and investigated the nutritional compositions of Amaranthus cruentus and Amaranthus hypochondriacus baby-leaves cultivated in Korea. Baby-leaves of two amaranthes consisted of more than 92% moisture, and A. cruentus contained a higher amount of moisture than A. hypochondriacus. Meanwhile, A. hypochondriacus contained higher levels of crude ash, crude protein, crude lipid, carbohydrates, and dietary fiber than A. cruentus. The major free sugars of the two amaranth baby-leaves were fructose and glucose. Fructose content of A. hypochondriacus was higher than that of A. cruentus, and glucose content of A. cruentus was higher than that of A. hypochondriacus. Acetic acid, malic acid, and fumaric acid were detected in two amaranth leaves, but succinic acid was not detected. Two amaranth leaves contained 17 amino acids except for methionine, proline, and tyrosine, and leaves contained the highest glutamic acid contents. In addition, A. cruentus and A. hypochondriacus leaves contained high contents of taurine and ${\gamma}$-aminobutyric acid and showed various biological activities. The major mineral and fatty acid of the two amaranth leaves were potassium and linolenic acid (C18:3), respectively. The ${\beta}$-carotene contents of A. cruentus and A. hypochondriacus leaves were $478.72{\mu}g/100g$ and $474.12{\mu}g/100g$, respectively. In vitamin B complex, $B_2$, $B_3$, and $B_5$ were detected in the two amaranth leaves whereas vitamins $B_1$, $B_6$, and $B_{12}$ were not detected. A. hypochondriacus contained higher amounts of vitamin C and E than those of A. cruentus. Overall, amaranth leaves contained high amounts of nutritional components. Therefore, amaranth leaves are expected to be useful for the development of a functional food. Moreover, these results will provide fundamental data for advancing sitological value, breeding new cultivars, and promoting leafy vegetable usage.

An Article Analysis of Animation-specialized Magazine: Focusing on Animatoon magazine (애니메이션 전문 정보지의 기사 분석: 『애니메이툰』의 기사 항목과 특성에 대한 고찰)

  • Kwon, Jae-Woong
    • Cartoon and Animation Studies
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    • pp.151-184
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    • 2016
  • In order to develop the animation industry, it is essential to encourage other related areas because all related industries can create synergy effects through exchanging their business. The magazine industry dealing with animation is one of them since the animation magazine plays an critical role in providing information and knowledge as well as analyzing market and industry from the practical viewpoint. But, there is only one magazine working in Korea, and it has never been researched so far even though over 20 years has passed since its first publication in 1995. It is Animatoon that is published by the company of Akom Production Co. who produced animation from the mid-1980s and Nelson Shin, the CEO of Akom, has worked as the Chief Editor. This research deals with Animatoon from the first issue till vol. 115 which was published in 2015, and tries to explore the characteristics. The result is as follows. First, Animatoon provides items to understand every article easily. Second, it provides original English articles written by foreign correspondents. Third, it provides different type of articles such as terminology explanation, production pipeline related knowledge, information about newly-released animation DVDs and so on. In addition, it is found out that Animatoon has small amount of advertisements. These characteristics shows that Animatoon helps subscribers to judge the contents of articles easier, tries to focus on the global trend, and provides basic and critical information. Therefore it can be said that Animatoon has enough features to be judged as the specialized magazine. First, Animatoon has its own specialized area, which is animation. Second, considering the type of articles, Animatoon tries to have all the parties concerned as its subscribers. Although, the amount of ads in Animatoon is small, only animation related ads are run through the whole issues.

Hwangsang's Exchanges with Chusa Family and Poetic Embodiment (황상(黃裳)의 추사가(秋史家)와의 교류와 시적 형상화)

  • Gu, sawhae;Kim, gyusun
    • (The)Study of the Eastern Classic
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    • no.59
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    • pp.157-181
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    • 2015
  • This thesis pursued exchanges of Hwangsang with Chusa Family, who existed in the 19th century. What was Chusa to Hwangsang and what was Hwangsang to Chusa? The answer is concluded to the question of which existence Chusa was to Hwangsang but not of which existence Hwangsang was to Chusa. However, disregarding social positions of the nobles and the commoners, brothers of Chusa also cherished Hwangsang and respectfully treated him as a poet at all times. Chusa was a critic who recognized Hwangsang as a successor to Dasan poetics and became a patron of the literary circles on the other hand. Hwangsang's Chinese poems related to Chusa Family are counted as 45 JE 52 SU in total which consist of 31 JE 34 SU in "CHIWONYUGO" and 14 JE 18 SU in "CHIWONSOGO", On the other hand, Chinese poems which Chusa wrote for Hwangsang are only a few pieces shown in "WANDANGJEONJIP". Hwangsang first met three brothers including Chusa in September 1853 when he came up to the capital for the 4th time. Jeong Hak-yeon, the oldest son of Dasan Jeang Yak-yong, played an important role in the whole process that Hwangsang met Chusa's three brothers and was recognized as a poet. As the oldest son of Dasan Family, Jeong Hak-yeon made efforts in various ways for Hwangsang. Hwangsang tried his efforts to exhibit his ability as a poet to Chusa and to get Chusa's introduction of his poetical works. Considering Chusa's importance in then literary circles, the introduction seemed to reflect recognition by the literary circles in the metropolis and it also showed that Hwangsang was no more than an obscure poet in the provincial area. Poetical composition of Hwangsang for Chusa three brothers commonly contained friendship, intimacy and special respect at all times. Seeing from exchange process between Hwangsang and Dasan Family or Chusa Family, it is found that mutual exchanges were actively made in the mid-nineteenth century overcoming regional differentiation between capital and province, or feudalism class distinction of social positions of the nobles and the commoners.

Status of Birds in the Nakdong River Estuary Bird Sanctuary before the Four Major Rivers Project (4대강 사업 이전 낙동강 하구 철새 도래지의 주요 조류 현황)

  • Kim, Bum-soo;Yeo, Unsang;Oh, Dongha;Sung, Kijune
    • Journal of Wetlands Research
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    • v.17 no.3
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    • pp.264-272
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    • 2015
  • Understanding bird status is essential for the systematic and sustainable management of the Nakdong River Estuary, taking into consideration the relationship between ecosystems and the bird species. In this study, bird status in the Nakdong River Estuary Bird Sanctuary prior to the Four Major Rivers Project was analyzed using the bird monitoring data (2003-2011) from surveys conducted by the Busan Development Institute. The high percentage of winter visitors in terms of both species diversity (38.36%) and individual bird numbers (63.14%) suggest that the Nakdong River Estuary is an important wintering site for migratory birds. Cumulative numbers of individual birds were higher in Myungji (208,601), West Nakdong River (202,444), Eulsukdo (153,232), and Baekhap Doyodeung (150,595). The total numbers of migratory species were higher in Eulsukdo (171), Ilungdo (124), Myungji (132), and Samrak (121). Among the 232 species found in the Nakdong River Estuary, Anas platyrhynchos (17.71%) was the most common species, followed by Anas poecilorhyncha (8.85%), Larus crassirostris (6.48%), Anser fabalis (6.09%), Anas penelope (5.16%), and Calidris alpina (4.22%). Most bird taxa, except shelducks, showed annual fluctuations in individual numbers, with increasing frequency during survey periods. Of these, cormorants, swans, and gulls showed higher fluctuations than other taxa. Swans decreased drastically in numbers in 2007-2008 and 2009-2010 compared to previous years. Shore birds, gulls, wagtails, and other forest birds were also less common in 2010-2011. These results suggest that there were some environmental changes that might have affected the birds in the Nakdong River Estuary. Overall, the results suggest that habitat types affect the distribution of dominant species.

The Development and Originality of Wind Chimes of the Goryeo Dynasty (고려시대 풍탁(風鐸)의 전개와 독창성)

  • Lee, Young-sun
    • MUNHWAJAE Korean Journal of Cultural Heritage Studies
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    • v.52 no.2
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    • pp.292-307
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    • 2019
  • Buddhists have always tended to adorn and embellish Buddhist statues and their surrounding spaces in order to exhibit the grandeur and sublime nature of the Buddha. The various kinds of splendid instruments and implements used in such ornamentation are collectively called jangeomgu in Korean. Thus, the term jangeomgu encompasses articles used to decorate Buddhist statues, halos, and baldachin, as well as Buddhist banners and wind chimes, which are generally hung outside a building. Wind chimes are still widely used at Buddhist temples. In China, judging from various structures such as the Wooden Stupa of Yongningsi in Luoyang and the Dunhuang Caves, wind chimes began to be used around the sixth century. As for Korea, Buddhism was first introduced from China during the Three Kingdoms Period, and Koreans accordingly began to build Buddhist temples and buildings. It would appear that wind chimes came to be used around the time that the first temples were built. The oldest extant wind chime in Korea is the gilt-bronze wind chime of Baekje, discovered at the Mireuksa Temple Site in Iksan. In general, Korean wind chimes dating from the Three Kingdoms Period are classified into two general types according to their shape and elevation, i.e., those shaped like a Buddhist bell and those shaped like a trapezoid. As these two forms of wind chimes have influenced each other over time, those made during the Goryeo dynasty, having inherited the style, structure, and design of the preceding period, display such features. At the same time, the artisans who produced wind chimes pursued technical development and adopted free, yet not extravagant, designs. In particular, Goryeo wind chimes are characterized by original designs created through exchanges with other Buddhist art forms of the same period, such as the embossed lotus design band of Goryeo bells; the bullmun design, which served to display the grandeur of the royal family; the samhwanmun design, which consisted of decorating the interior of a Goryeo incense burner with three holes; Sanskrit designs; and designs inspired by the windows and doors of stone pagodas. In this way, the production of Goryeo wind chimes developed with a focus on purpose while being free of formal constraints. This study started out from the fact that the largest number of Korean wind chimes were produced during the Goryeo dynasty. Therefore, research on wind chimes should be based on those of the Goryeo dynasty, especially since fewer relevant studies have been conducted compared to studies on other forms of Buddhist art. For the purposes of this study, the reasons for the production of wind chimes will be examined first, followed by an examination of the various styles of Korean wind chimes. Then, based on the findings of this investigation, the development and characteristics of the wind chimes produced during the Goryeo dynasty will be explored for each period.

Analysis of the Stage and Performance Elements for Bongsudang-jinchan Banquet in Joseon Dynasty (봉수당진찬(奉壽堂進饌)의 무대와 공연 요소 분석)

  • Song, Hye-jin
    • (The) Research of the performance art and culture
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    • no.18
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    • pp.413-444
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    • 2009
  • This paper is an analysis of stage and performance elements for the ceremonial procedures and dance featured in bongsudang-jinchan, a feast celebrating the 60th birthday of Hyegyeong-gung Hongssi (Crown Princess Hong of Hyegyeonggung), the mother of King Jeongjo, which took place in Hwaseong haegung palace in 1795. The primary sources used are data on bongsudangjinchan recorded in Wonhaeng-eulmyojeongriuigwe, Jeongjo-sillok, Hongjae-jeonseo, pictorial sources such as Folding Screens of Hwaseong-neunghaeng and Hwaseong Ilgi, which is a journal in Korean by Yi Hui-pyeong. A court ceremony to offer music, dance, flowers, and food, as well as wine and poetry which express the sentiments of chung (fidelity) and hyo (filial piety) was considered a national ceremony and has constituted a unique musical culture during the 500 years of Joseon dynasty. However, after the fall of Joseon dynasty, ceremonial music and dance, which have been organically linked within the overall symbolic system of ye (courtesy), became scattered to become independent 'pieces.' As a result, all of their philosophy, principles, and the time-space interpretation of court music and dance became greatly reduced, leaving only the artistic expression and formal structure of the music and dance to become emphasized. Since the 1990s, there has been many research and events aiming to re-create the court ceremonial tradition, resulting in the increase of the related performance activities. This is especially true with bongsudang-jinchan, which is now being performed on modern stage in various forms. However there are still many problems to be solved, such as the issue of re-creating and restoring the original, and the question of artistic value found in the traditional pieces. Until now, much focus has been paid to the outer re-construction of uiju document as recorded in Wonhaeng-eulmyo-jeongriuigwe. On the other hand, there lacked an in-depth study which analyzes the stage situation and performance elements. Therefore in this paper, after focusing on the stage structure and performance elements, it is concluded that bongsudang-jinchan, the only court feast to be held in Haeng gung, not only consists of the fundamental aspects of court performance principle as 'governing through ye and ak (music),' but also served as an important occasion to bring together the sovereign and the subject. Bongsudang-jinchan had features of both naeyeon (feast for ladies) and oeyeon (feast for gentlemen). It minimized the use of screens and allowed every guest to enjoy food, music, and dance together, but provided a separate tent for foreign guests, maintaining the ideal balance between equality and distinction among different gender and social status. A screen symbolizing the venue for the feast is placed for all of the government officials. The king then pronounces the beginning of the banquet in which the ideal of gunsin-dongyeon (king and officials dining together) is realized. This indicates that bongsudang-jinchan, compared to other court ceremonies that emphasize the principle of yeak (courtesy and music), focuses more on the spirit of harmony and rapprochement. The king played a more active role in bongsudang-jinchan than in any other royal feasts. Examples as recorded in uiju documents are; Jeongjo's conversation with his retainers after the 7th wine, king's bestowing of food and flowers to the officials, writing his own majesty's poems with regard to the festival, and asking the retainers to write replying poems. All these played an important part in making the occasion more rich, extensive, and meaningful. Moreover, as analysis of the structure of orchestral music and court dance featured in bongsudang-jinchan shows, it was like any other court banquet in that it employed minimal use of extravagance in movements and conversation. However, the colors and tonal texture used in the music and dance were more brilliant in this case. Compared to other banquets that took place before king Jeongjo, the dance style was more diverse, which included some of the latest additions. There were past performances arranged anew. Noteworthy are; the incorporation of "Seonyurak (Boat Dance)" and "Geommu (Sword Dance)," traditionally used for local officials and civilians feast, to suit the court taste; and the use of saenghwang (mouth organ), which was a rising instrument in pungnyubang (literati's private salon), for "Hakmu (Cranes Dance)." This especially indicates the nature of the 'open structure' pursued by the court banquets at the time, which strove to break away from the traditional rules and customs and accept something new.