• Korean Journal of Remote Sensing
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• v.37 no.6_1
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• pp.1739-1756
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• 2021

Atmospheric nitrogen dioxide (NO₂) is mainly caused by anthropogenic emissions. It contributes to the formation of secondary pollutants and ozone through chemical reactions, and adversely affects human health. Although ground stations to monitor NO₂ concentrations in real time are operated in Korea, they have a limitation that it is difficult to analyze the spatial distribution of NO₂ concentrations, especially over the areas with no stations. Therefore, this study conducted a comparative experiment of spatial interpolation of NO₂ concentrations based on two linear-regression methods(i.e., multi linear regression (MLR), and regression kriging (RK)), and two machine learning approaches (i.e., random forest (RF), and support vector regression (SVR)) for the year of 2020. Four approaches were compared using leave-one-out-cross validation (LOOCV). The daily LOOCV results showed that MLR, RK, and SVR produced the average daily index of agreement (IOA) of 0.57, which was higher than that of RF (0.50). The average daily normalized root mean square error of RK was 0.9483%, which was slightly lower than those of the other models. MLR, RK and SVR showed similar seasonal distribution patterns, and the dynamic range of the resultant NO₂ concentrations from these three models was similar while that from RF was relatively small. The multivariate linear regression approaches are expected to be a promising method for spatial interpolation of ground-level NO₂ concentrations and other parameters in urban areas.

• (The) Research of the performance art and culture
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• no.37
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• pp.249-293
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• 2018

The Musical Theatre was a popular art genre that originated from the western musical tradition represented by the European opera. In the twentieth century, it bloomed around Broadway in the United States. It is also one of the commercial arts which is popularly loved by the public in the field of performing arts all over the world at present. Due to the nature of this genre, the development of dramas and the expression of characters use music, not words or gestures, as the main medium. And the style of music reacts sensitively to the taste of the public, not to a particular class. When Japan colonized Korea, the empire strongly believed modernization equaled westernization and Japan was the one who could awaken Korean. The Japanese colonial music education was intended to bring cooperation and obedience to Japan by forcibly injecting Japanese ideology and culture into Joseon people. The music education of colonialism with the textbook of the "Songs for public education(보통교육 창가집)" compiled by the Japanese government was a sparkstone for the conversion of the Korean musical identity to Japanese and Western music. In addition to the capitalistic economical mechanism for establishing a South Korean government friendly with the United States during the Cold War after liberation, and the rush of American Pop culture represented by 'the show stage in 8th US Arm' and 'movies' which are to be the influence of invisible 'new cultural imperialism', our traditional music was confined to the meaning of 'Korean music', meaning 'past music'. In Korea, after the liberation, the musical was introduced by the influx of American popular culture. In accordance with the cultural policy of Park Jeong-hee regime, which aimed to spread the 'healthy culture' through the modernization of traditional arts, 'The Yegreen(예그린악단)' was founded. However, the plan to create a contemporary performing art based on Korean national arts showed the possibility of success in 1966 with the success of , but soon after, they have been destined to fall into an institution that has lost their ability to operate on their own due to the suspension of the sponsorship of the regime. Due to the cultural imperialist strategy of the influence of Japanese imperialism's colonial music education and influx of American popular culture after liberation, in the early days of Korean musicals, our traditional aesthetic style brought about the situation of the 1960 's, which did not become an independent ethnic art through the exchange and expansion with Western music. This is the background of the western licensed musicals led by the Korean musical market in the 21st century as well as the main cause of musical creation based on western music.

• Cross-Cultural Studies
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• v.43
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• pp.265-288
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• 2016

This essay begins by discussing the issue of the definition of a catastrophe as a trauma by visual media and the problems that result. We assume a concrete approach towards these problems by examining the process through which 9/11 was defined as a "national trauma" in the exclusion of images of bodies falling from towers, which were some of the most shocking images in the media coverage of 9/11. The choice to exclude images of falling men from American visual media representations of 9/11 goes hand in hand with the tendencies of a contemporary trauma theory. This essay assumes that the representations in the U.S visual media depend on "antimimetic theory," one of the leading contemporary trauma theories, in order to validate its logic, and examines the limitations and problems of the theory. This work aims to examine the issue of the definition of a catastrophe as trauma by visual media on the basis on the "antimimetic theory" and the danger that results. Because the antimimetic theory, which the visual media in the United States uses to define 9/11 as trauma, emphasizes literal and unmediated representation of an external event, it lacks an understanding of the human aspects of the event. There is no way to intervene in the construction and interpretation of the trauma. As a result, the theory discourages active attempts to find a solution to the problems of the people directly connected with the event. Thus, it provides an opening for manipulative intervention of an external power. This essay attempts to provide a critical analysis of the "antimimetic theory" in order to help people who witness catastrophic events through various types of visual media, and to seek an alternative means of experiencing and responding to the trauma, that does not stem from the perspective of specific media outlets or external powers.

• Journal of the Society of Cosmetic Scientists of Korea
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• v.45 no.2
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• pp.161-173
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• 2019

In this study, the antioxidative and inhibitory activity of tyrosinase and collagenase for the solvent extract and silica column fractions of Artocarpus nitidus were evaluated. The activities were quantified using the 4 parameter logistic. LC/MS analysis showed that the major component of the fractions was polyphenol and the total polyphenol content of the extract was $48.1{\pm}2.6mg\;GAE/g$. The radical scavenging activities ($SC_{50}$) for 1,1-diphenyl-2-picrylhydrazyl of the extract, fraction-1 and fraction-2 were 16.7, 42.0 and $10.1{\mu}g/mL$, respectively. The value for fraction-2 was the closest to ascorbic acid ($1.5{\mu}g/mL$). The tyrosinase inhibitory activity of the extracts and the fractions showed $IC_{50}$ of 64.9, 0.9 and $1.2{\mu}g/mL$, respectively, and overall activity was higher than that of kojic acid ($7.4{\mu}g/mL$) and arbutin ($119.0{\mu}g/mL$). In the experiment by zebrafish embryo, the whitening activity of fraction-2 (27.5%) was higher than that of kojic acid (18.6%), and there was no adverse effect up to $500{\mu}g/mL$ of fraction-2. For the collagenase inhibitory activity, the samples showed $IC_{50}$ of 139.8, 20.6, and $16.8{\mu}g/mL$, respectively, which were competitive to 1, 10-Phenanthroline ($55.4{\mu}g/mL$). The extract and fraction-2 showed $IC_{50}$ of 61.8 and $67.1{\mu}g/mL$ for elastase. These results suggest that A. nitidus extract can be used as a cosmetic material useful for antioxidant, whitening, and prevention of skin aging without adverse effects.

• Korean Journal of Poultry Science
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• v.46 no.1
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• pp.31-37
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• 2019

A chicken clathrin-associated adaptor protein $3-{\delta}$ subunit 2 (AP3S2) is a subunit of AP3, which is involved in cargo protein trafficking to target membrane with clathrin-coated vesicles. AP3S2 may play a role in virus entry into host cells through clathrin-dependent endocytosis. AP3S2 is also known to participate in metabolic disease developments of progressions, such as liver fibrosis with hepatitis C virus infection and type 2 diabetes mellitus. Chicken AP3S2 (chAP3S2) gene was originally identified as one of the differentially expressed genes (DEGs) in chicken kidney which was fed with different calcium doses. This study aims to characterize the molecular characteristics, gene expression patterns, and transcriptional regulation of chAP3S2 in response to the stimulation of Toll-like receptor 3 (TLR3) to understand the involvement of chAP3S2 in metabolic disease in chicken. As a result, the structure prediction of chAP3S2 gene revealed that the gene is highly conserved among AP3S2 orthologs from other species. Evolutionarily, it was suggested that chAP3S2 is relatively closely related to zebrafish, and fairly far from mammal AP3S2. The transcriptional profile revealed that chAP3S2 gene was highly expressed in chicken lung and spleen tissues, and under the stimulation of poly (I:C), the chAP3S2 expression was down-regulated in DF-1 cells (P<0.05). However, the presence of the transcriptional inhibitors, BAY 11-7085 (Bay) as an inhibitor for nuclear factor ${\kappa}B$ ($NF{\kappa}B$) or Tanshinone IIA (Tan-II) as an inhibitor for activated protein 1 (AP-1), did not affect the expressional level of chAP3S2, suggesting that these transcription factors might be dispensable for TLR3 mediated repression. These results suggest that chAP3S2 gene may play a significant role against viral infection and be involved in TLR3 signaling pathway. Further study about the transcriptional regulation of chAP3S2 in TLR3 pathways and the mechanism of chAP3S2 upon virus entry shall be needed.

• Journal of Korea Water Resources Association
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• v.51 no.spc
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• pp.1091-1103
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• 2018

Having knowledge regarding to which region is prone to drought or flood is a crucial issue in water resources planning and management. This could be more challenging when the occurrence of these hazards affected by climate change. In this study the future streamflow during the wet season (July to September) and dry season (October to March) for the twenty first century of South Korea was investigated. This study used the statistics of precipitation, maximum and minimum temperature of one global climate model (i.e., INMCM4) with 2 RCPs (RCP4.5 and RCP8.5) scenarios as inputs for The Precipitation-Runoff Modelling System (PRMS) model. The PRMS model was tested for the historical periods (1966-2016) and then the parameters of model were used to project the future changes of 5 large River basins in Korea for three future periods (2025s, 2055s, and 2085s) compared to the reference period (1976-2005). Then, the different responses in climate and streamflow projection during these two seasons (wet and dry) was investigated. The results showed that under INMCM4 scenario, the occurrence of drought in dry season is projected to be stronger in 2025s than 2055s from decreasing -7.23% (-7.06%) in 2025s to -3.81% (-0.71%) in 2055s for RCP4.5 (RCP8.5). Regarding to the far future (2085s), for RCP 4.5 is projected to increase streamflow in the northern part, and decrease streamflow in the southern part (-3.24%), however under RCP8.5 almost all basins are vulnerable to drought, especially in the southern part (-16.51%). Also, during the wet season both increasing (Almost in northern and western part) and decreasing (almost in the southern part) in streamflow relative to the reference period are projected for all periods and RCPs under INMCM4 scenario.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.16-31
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• 2013

This study addresses how the main group of community ritual changed as the regional community changed during the period of Japan's colonial rule of Korea with emphasis on Gwanseongmyo in Jangchung-dong, Seoul. First, almost every regional community was changed because of city planning which was carried out by Japan in Korea for colonial exploitation and for the use of military bases. Mapo-dong and Seobinggo-dong were the appropriate examples. The city planning projects by the Japanese colonial government selected Jangchung-dong as the place of settlement of many Japanese people. The stream, Cheonggyecheon, made a border between the Korean and Japanese settlements and the traditional system of regional community in Jangchung-dong was changed and reorganized considerably. Second, the Japanese government used the rituals of regional community purposefully to combine them with the ceremony in the Japanese shrine. Those who supported Japan performed the regional rituals and tried to follow the policy of 'Rule of Culture' required by the Japanese colonial government. However, most regional rituals continued as they were before Japan's colonial rule of Korea without any change. Under this new trend the ritual of Gwanseongmyo was changed from the ritual for worshipping Guan Yu to that of the regional community. Last, the main groups that led the rituals of regional community were diversified during the period of Japan's colonial rule of Korea. In other words, the rituals of community used to be led by the families that lived in the region for generations before Japan's colonial rule of Korea. However, they were later led by various groups that emerged as a result of the colonial rule, urbanization, commercial development, regional differentiation, and so on. As an example,Yeongsinsa of Gwanseongmyo,which was the main group to lead the ritual of Gwanseongmyo, shows that the regional community rituals were extended to worshipping Guan Yu. The members of the main group to lead the ritual were pro-Japanese senior officials who were formerly military officers. This shows that the main groups leading the regional community rituals were further diversified.

• Korean Journal of Heritage: History & Science
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• v.42 no.3
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• pp.106-130
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• 2009

The aim of this paper is analysis of structure and development pattern about wooden coffin and chamber tombs in Gyeongju from the 2nd century B.C. to the 3rd century A.D. for researching to socio-political tendency and growth process of Sarokuk. Tombs buried with iron objects were built in Youngnam(嶺南) from the 2nd century B.C. with spread wooden coffin with stone mound(積石木棺墓). Also medium or small sized wooden coffin tombs buried with bronze mirror of western Han(前漢) and soft stoneware(瓦質土器) were appeared the 2nd century B.C. in Gyeongju, because of establishment of Han's commanderies(漢郡縣) in the Korean Peninsula and refuge from Daedong river(大同江) to Jinhan(辰韓). Separate tombs(獨立墓) with lots of bronze object ware assumed high ranked tombs of parsonage(司祭王) or local chief(地域首長). From the 2nd century A.D. the size of wooden coffin tombs became enlarged and funerary objects ware abundant, for example Sarari 130th tomb(舍羅里 130號). The burying pattern of this tomb is similar to wooden chamber tombs in Lelang(樂浪), which had prestige goods like lacquer ware and bronze mirror in wood box(木匣) beside coffin. Appearance of these wooden chamber tombs that were different from original wooden coffin tombs imply interaction between Lelang and these area with iron. Sarari community that held right of trade and distribution to outside through the geographical advantage grew up centered position in Gyeongju politically, socially, and culturally. Chamber in tomb as a new structural notion that can secure funerary objects became firmly was established from the 2nd century A.D. in Gyeongju and large sized wooden chamber tombs were generally built early of the 3rd century A.D. This tendency was reflected in stratification of community and growth as center of local state. After late of the 3rd century A.D. Gyeongju type wooden chamber tomb(慶州式木槨墓) which had subordinate outer coffin(副槨) was appeared and then subordinate outer coffin was as bigger as main chamber(主槨) the 4th century A.D., because of centralization and stratification in society and unification of various communities among the Gyeongju area.

• The Korean Journal of Archival Studies
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• no.29
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• pp.3-33
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• 2011

No one can deny the harsh reality that archival culture has not yet been permeated extensively into all the spheres of our society. Only fragmented records in fixed areas are in the custody of archives. Records to build a living memory for the history of our present are hard to find or remain minimal, if anywhere. Above all, there are few records in archives concerned with the everyday life of common people. No consideration has not been made about the reason for being of archives, not to mention of the strategy for establishing the archival culture. Accordingly, a paradigm shift is required for archives directly connected with the everyday life of common people. Archives of everyday life means one which interprets the behaviour and experiences of individuals(groups) within the context of society through categorizing everyday life of common people into the lesser fields. And archives of everyday life also means an organization or facility/place which documents the everyday life of individuals(groups), and collect, appraise, select and preserve the records from the view point of humanities for the reconstruction of history from the bottom. Archives of everyday life is an attempt to reconstruct memory and records on behaviour by and torment of the common people in the modern history of Korea, on the basis of which we can seek out the oppressive structure in the daily life of capitalism. Archival community should discuss about what is the meaning of records in the age of democracy unlike that of authoritarian era. We also need to have definite direction on the what kinds of records are to be created and appraised from the standpoint of common people. We are to make it possible to create Zeitgeist in the tackle of records and archives' content. on this kind of attempt archival community could make a practical contribution forward a more advanced democracy, resulted in having an opportunity to change the essence of archives.

• (The) Research of the performance art and culture
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• no.33
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• pp.329-354
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• 2016

Hyupryulrang was the position that announced the start and end of music in royal ceremonies. It appeared when the royal etiquette was categorized and implemented due to the five etiquette system, which was formed by the influence of Confucianism. Confucianism valued etiquette and music and this aspect was reflected in royal five etiquette, making music involved in royal ceremonies. So there was a need to have a mediator who will announce the insertion of music according to the process of royal ceremonies. For harmonious realization of royal ceremonies and music, hyupryulrang was indispensible. In Korea hyupryulrang appeared in Goryo era and lasted until Joseon era. Hyupryulrang during Joseon was handled by bongsanshi and once was taken by jeonak( 典樂) temporarily but finally was managed by officials in jang-akwon(掌樂院). Among the officials in jang-akwon, jang-akwon jeong(正) mainly served the role but jang-akwon chumjeong(僉正) and jang-akwon juboo(主簿) were sometimes recruited for the role according to circumstances. What was common among jang-akwon jeong, chumjeong, and juboo was that they were all danghakwan(堂下官). Danghakwan was an official who had the fundamental limitation of not being able to participate in policy making so was in a lower position compared to dangsangkwan. Meanwhile, according to circumstances of ceremonial process or the characteristics of ceremonies, gyeraseonjeonkwan(啓螺宣傳官), mushingyungseonjeonkwan(武臣兼宣傳官), and yeojipsa(女執事) were recruited as hyupryulrang instead of officials of jang-akwon, so that there would be no problems in ceremonies and performance of music. The activities of hyupryulrang can be summarized as setting up or laying down hui in most ceremonies that involved band. At night, however, as hui(麾) was invisible, jochok(照燭) or sometimes geumgogi(金鼓旗) was used. As for the term that referred to hyupryulrang, in case of royal banquet, the names of the ceremonial tools were borrowed such as geohuichabi(擧麾差備) and jochokchabi(照燭差備). The location of hyupryulrang was in the west on top of seogye(西階) facing toward the east, which was a position where hyupryulrang could watch the ceremonial process easily and be close to the band. That is, it was a position where one can see the space of ceremony and the space of music at the same time. Also, hyupryulrang was involved in musical parts related to ceremonies such as rehearsals, arrangement of the band, controlling the speed of music, and prevention of missing any musical pieces, and was in charge of such tasks. Hyupryulrang, who had to take charge of music in accordance with ceremonial procedure, was a mediator between royal ceremonies and music.