• Journal of Food Hygiene and Safety
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• v.33 no.6
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• pp.417-426
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• 2018

Food preservatives are very important food additives for the biological and chemical safety of processed foods. The purposes of this study were to investigate Korean consumer's perception and information needs on food preservatives, to develop an educational booklet as a risk communication material on food preservatives, and to assess the educational effect of the developed booklet. To understand perception on food preservatives, a self-administered questionnaire survey was conducted by 381 parents having elementary school students at Seoul and Geoynggi area in Korea. Based on the survey results, brain storming of the authors along with consultation from the professionals, we developed a risk communication booklet about food preservatives. It was exposed to 35 parents of elementary school children, and their evaluation was collected by using a questionnaire and analyzed statistically. Respondents considered food safety (44.8%) as the most important factor while purchasing processed foods. They still perceived food additives as the most hazardous one (41.5%), and among those, food preservatives were the most concerned (45.9%). Total 67.7% of the respondents considered the consumption of food preservatives as hazardous or very hazardous. However, 90.6% of respondents did not have any educational experience about food additives and food preservatives. Based on their information needs, a science-based booklet consisting of the definition, classification, safety, intake, and management of food preservatives was developed. When the booklet titled as 'Food preservatives, Just Know Them!' was exposed to the parents via elementary school teacher, their negative perceptions on food additives and food preservatives were changed positively by increasing the understanding level on preservatives from 18.9% to 90.9% and obtaining 72.7% positive answers on their safety. Therefore, it could be used as an effective risk communication material on food preservatives.

• Korean Journal of Heritage: History & Science
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• v.43 no.3
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• pp.242-281
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• 2010

There are a large number of Buddhist cultural relics in Mt. Namsan. The cultural relics carry the spirit of people of Shila who dream of Buddhist Elysium and the establishment of Buddhist nation. In the valley and the top of the mountain and on various rock cliff, stone statues of Buddha and stone pagodas stand in harmony with nature. For that reason, Mt. Namsan is called an open-air museum. And it played an important role in establishing 'The UNESCO World Heritage' status for Gyeongdju in December 2000. But sadly, there are many stone relics that have eroded away and damaged from collapsing in the passage of time. The seated stone statue of Buddha in Samreoung valley of Mt. Namsan is one of them. It was created between the 8th and 9th century, and restored without much care nor extensive historical research in 1923. As a result, The face of the Buddha remained with concrete mortar and its nimbus fallen backward and destroyed. Therefore, restoration and repair as well as creation of a statue environment for the statue were urgent. So we immediately started in restoration and repair. First, through the archaeological excavation around the stone Buddha, we carried the stone Buddha on the original position. In order to restore the statues to its original glory created by the Unified Shila Dynasty, we created a restoration plan in corporation with art historians and historians, then restored the jaw and the damage nimbus. Second, we made the weathering & damage map of the stone Buddha. In order to prevent second damage, we cleaned the surface of contaminants with distilled water. Third, we studied restoration method to prevent artificial damage. We recreated parts of his face and halo. Then each parts of the statue were restored to their original position. In the whole process of restoration, we tried to use traditional techniques.

• Korean Journal of Plant Resources
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• v.34 no.4
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• pp.346-361
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• 2021

The range of D. spathulata identified in this survey was between N 35° 24' 58" ~ N 35° 26' 35", E 129° 05' 43" ~ E 129° 07' 04". It is located at an altitude of 98~592 m. The soil pH was strongly acidic in the range of 4.2~4.9, with a canopy openness of 18.56% and a chlorophyll index of 36.74 ± 2.80. As a result of the TWINSPAN analysis, 20 plots of 100 m² each were divided in 4 communities: Pinus densiflora community, Quercus monglica-Diabelia spathulata community, Quercus serrata-Diabelia spathulata community and Carpinus tschonoskii subassociation. The result of species diversity was 0.7615, and evenness and dominance were found to be 0.6077 and 0.3923, respectively. The height of D. spathulata is up to 3.4 m, and the average height is 1.1 m, with most of the species distributed as shrubbery and herbaceous. The average population density of the 20 plots was 1.635 individuals/m², the height range of flowering was 1.0 ~ 1.8 (aver. 1.39 m) and the rate of flowering was 27.37%. It's propagation pattern was mainly formed by extending the rhizome to the side, creating a colony of ground stems.

• Journal of IKEEE
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• v.25 no.1
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• pp.156-167
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• 2021

In this paper, we propose a digital transceiver unit design for in-building of 5G optical repeaters that extends the coverage of 5G mobile communication network services and connects to a stable wireless network in a building. The digital transceiver unit for driving the proposed 5G optical repeater is composed of 4 blocks: a signal processing unit, an RF transceiver unit, an optical input/output unit, and a clock generation unit. The signal processing unit plays an important role, such as a combination of a basic operation of the CPRI interface, a 4-channel antenna signal, and response to external control commands. It also transmits and receives high-quality IQ data through the JESD204B interface. CFR and DPD blocks operate to protect the power amplifier. The RF transmitter/receiver converts the RF signal received from the antenna to AD, is transmitted to the signal processing unit through the JESD204B interface, and DA converts the digital signal transmitted from the signal processing unit to the JESD204B interface and transmits the RF signal to the antenna. The optical input/output unit converts an electric signal into an optical signal and transmits it, and converts the optical signal into an electric signal and receives it. The clock generator suppresses jitter of the synchronous clock supplied from the CPRI interface of the optical input/output unit, and supplies a stable synchronous clock to the signal processing unit and the RF transceiver. Before CPRI connection, a local clock is supplied to operate in a CPRI connection ready state. XCZU9CG-2FFVC900I of Xilinx's MPSoC series was used to evaluate the accuracy of the digital transceiver unit for driving the 5G optical repeater proposed in this paper, and Vivado 2018.3 was used as the design tool. The 5G optical repeater digital transceiver unit proposed in this paper converts the 5G RF signal input to the ADC into digital and transmits it to the JIG through CPRI and outputs the downlink data signal received from the JIG through the CPRI to the DAC. And evaluated the performance. The experimental results showed that flatness, Return Loss, Channel Power, ACLR, EVM, Frequency Error, etc. exceeded the target set value.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.14-27
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• 2011

The study reviewed the content and the meaning of the present Yeoju Palkyung(eight scenery) through analyzing and interpreting the Palkyung poems, old maps and paintings, and classic materials transmitted in Yeoju area, and investigated the transmission process. Although five scenes of the Yeoju Palkyungs illustrate abstract landscapes derived from the Sosang Palkyung, there are mixed with local sceneries showing famous historical ruins in the area and local life of the Yeogang(驪江: river). Seunggyeong(勝景) of Yeoju, highlighted in old paintings, has been emphasized through duplication the object and the view point field of Yeoju Palgyeong(驪州八詠), which is usually symbolized to sailing boats along the Yeogang, forests around Cheongshimru, and the layer Jeontap and Maam above Shinreuksa(神勒寺) Dongdae(東臺). It is quite undoubtful that the Yeoju Palyong of Choi Sukjeong and Seo Geojung is the copy of the present Yeoju Palkyung, but the present version is found to be all included in the Cheonggijeongsipyoung(淸奇亭十詠) of Cho Moonsu since the 17th Century, which shows that the Cheonggijeongsipyoung is viewed that it played an important role for the transmission of the Yeoju Palkyung. Also, it. is concluded that the Yeoju Palyong recorded in Yeojidoseo(與地圖書) is the same landscape collecting with the presend Yeoju Palkyung, which would be dated back at least until the mid 18th Century. In addition, given the fact that the studied old maps show Eight scenery, Sachoneohwa, Shinreukmojong, Yeontanguibum, Paldaejangrim, Yangdonagan, Ibanchungam, Pasagwau, and Yongmoonjeukchui, recorded consistently in the same time order, the eight scenic points in the old maps had been apparently established as the typical copy of the Yeoju Palkyung in the 18th Century. Therefore, the transmission route of the Yeoju Palkyung follows two separate versions, one starting from the Yeoju Palyong(Choi Sukjeung, Seo Geojeong) to Cheonggijeongpalyong to Yeoju Palyoung(Yeojidoseo) to the present. Yeoju Palkyung, and the other from the Yeoju Palyoung Geumsa Palyong(金沙八詠) to the old map Palkyung to the Yeoju Palkyung(the late 18th C). These two transmission processes have their own cultural sceneries having the same origin, which are different only in perspective which attempts to cover the representative scenic landscapes including Yeoju and Geumsa.

• (The) Research of the performance art and culture
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• no.18
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• pp.171-199
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• 2009

This paper started with my effort to find connections between Empty Hands, which was put on the stage at the Mime House in Chuncheon, Gangwon Province, and Jindo Ssitgimgut. The mimist Yu Jin-gyu(58) adopted so many elements from Jindo Ssitgimgut for his performance that I felt that it was the pantomime version of Jindo Ssitgimgut. Of course, the pantomime took the form of gut based on shamanism in terms of story. Watching the pantomime, I once again saw the possibility of developing Korea's cultural archetypes into cultural contents. Helen Lannaghan, the art director of London International Mime Festival of 2005, saw his performance at the conference of Chuncheon International Mime Festival and invited it to the London International Mime Festival praising that it's full of Korean elements, minimalist, and modern at the same time. In fact, Empty Hands, which boasts great harmony among the Korean objet, Oriental thoughts, Samulnori, and Western contemporary mime, was invited to many foreign festivals including the Mimos International Mime Festival in 2000, Polish International Mime Festival in 2001, Mongol's International Mime Festival in 2002, and Belgium's International Mime Festival in 2003. In addition, it's recognized for its artistic values and had a chance to shine in another international setting at the London International Mime Festival whose reputations have been worldwide. All those achievements are the result of Yu's constant effort to reflect Korean elements through his movements. What I saw in his pantomime was the possibility that plays based on Korea's cultural archetypes such as Jindo Ssitgimgut could play an important role as a global content of performance culture. Pursuing the possibility further, I analyzed the factors that brought the worldwide recognition to Empty Hands and searched for the ways to create solid storytelling with Jindo Ssitgimgut and make a huge hit on the international stage. It should be noted once more that the pantomime Empty Hands launched Korea's unique performance culture to the world stage by making great use of the traditional Korean cultural contents.

• The Journal of Korean Philosophical History
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• no.56
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• pp.47-80
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• 2018

The traditional laws of Korea have undergone various stages of development over time. This includes the voluntary standards of the clean society. Korea's traditional legal systems, ranging from those of the Goryeo(高麗) to those of the Republic of Korea, have taken Confucian Phiosophy as their major ideological bases. At the center of these Confucian ideals, particularly in regards to pre-Qin Confucian Philosophy(先秦儒家思想) from where these ideals originated, lie the core ideals which emphasize the responsibility of each individual regardless of the social status(正名), the needs for a democracy in which people are empower and guide the state(民本), the importance of reigning with benevolence, moral excellence, and rite (仁義), and the differential love centered on kinship and humanity(親親愛人). These were the ideas as set forth by Confucius(孔子), Mencius(孟子) and Xun Zi(荀子). The current laws of Korea, especially in regards to the Constitution and the Civil and Criminal Laws, include a number of provisions that contain the Confucian Ideas of Law. The Constitution, in particular, which is also supported by the judgement of the Constitution Court, reflects several core Confucian ideals including filial duty (孝) and respect for ascendants and the traditional culture. The Court also suggested the two important standards of the constitutional legitimacy of the Traditional Culture. One is 'Age Compatibility (時代 適合性)', the other is 'Manifested Universally Validity(現在的 普遍妥當性)'. So we have burdened with the reestablishment of the Universal Ethics of the Confucian Ideology.

• (The)Study of the Eastern Classic
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• no.70
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• pp.91-117
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• 2018

This paper examines the persuasive style(論說類) proses of Myeonggog(明谷) Choi, seokjeong(崔錫鼎, 1646~1715). He is a disciple of Namguman(南九萬) and Parksechae(朴世采), and is a man who played an active part by political soron(少論) leader in the middle of the Joseon Dynasty. It is also a central figure that links the genealogy of the late Joseon Dynasty, which leads to Namguman(南九萬)-Choiseokjeong(崔錫鼎)-Chotaeeok(趙泰億). He wrote total 14 persuasive style prose. The time of creation is from around 1671 until the end of life. In this paper, the preoses to be analyzed are Sunukron(荀彧論), Bujadaegaron(夫子待賈論) and Muneongyebyeon(文言系辭辨). The reverse idea that reverses the existing discussion is outstanding, and the work which is unique in composition is Sunukron(荀彧論). Bujadaegaron(夫子待賈論) is a work that uses the ryubi(類比) to increase persuasiveness and converts the existing perspective. Muneongyebyeon(文言系辭辨) is a work that attempted to harmonize in the formality of vocabulary, sentence and composition while showing the logical perfection to dismiss the counter-argument's prerequisite. For example, Muneongyebyeon(文言系辭辨) consists of a total of five paragraphs in aspect of composition, each paragraph arranged in good order. In addition, this work presented sequential arguments, used the incremental method which emphasizes the importance of arguments as it moves backward.

• (The)Study of the Eastern Classic
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• no.49
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• pp.187-223
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• 2012

This study is planned to research the ways and structue of Okdong's thinking, which are the foundation of his academic world, based on the collection of his literary pieces. This study became interested in Okdong Lee Seo because he with some strong stimulation and shock is considered as the turning point of his family's academic tradition. His family's academic tradition before Okdong had been famous for literatures of its members, such a tradition shifted toward Confucian classical studies. Especially, Okdong was the third elder brother of Seongho Lee Yik who represented the academia of the late Joseon period, and took an important role in forming Seongho's study. Okdong is considered to have built the basic structure of Seongho's study. It seems that in the process he transmitted their family's academic tradition whose focus got shifted from literature to Confucian classical studies. Thus, this study has the basic meaning as elucidation about the fundamental of Okdong's academic world. However, the larger meaning of this study is the verification of the fundamental structure of Seongho's study: Seongho's study stood on Okdong's study but overcame Okdong as an individual, and then became a academic standard of the late Joseon period. When the collection of Okdong's literary pieces is examined, it can be found that Okdong way of thinking rooted in the Confucian theory that human nature is originally good. Especially, Okdong maintained the li-qi dualism in which li and qi conflict against each other. For understanding and elucidating not-completely-good human mind, he understood li and qi within conflicting relationship. Okdong claimed that in order for a man to keep his life humane, the man should recover his moral completeness by cultivating his mind through sincerity and reverence. Okdong's goal was to build society and to realize human nature in accordance with the classical Confucian ideology of filial piety and respect and of loyalty and trust. Here lies the fundamental meaning of Okdong's way of thinking.

• (The)Study of the Eastern Classic
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• no.59
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• pp.93-120
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• 2015

The purpose of this study is to explore the source of appealing which Gusadang Kim Nakhaeng's writing for ancestral rites is equipped with. Gusadang was one of the Confucianists in Yeongnam during the 18th century and was praised for his scholarly virtue of jihaenghapil and silcheongunghaeng. Although Gusadang's writing for ancestral rites and his teacher Milam Lee Jaeui's letters were even specially named as 'gujemilchal', there has been almost no research on Gusadang's writing for ancestral rites yet. Therefore, this study selects three pieces of Gusadang's writing for ancestral rites which are especially rich in emotional expression for discussion. Chapter 2 titled as 'the Reconstruction of Memory in a Microscopic Perspective' presents the reason why Gusadang's writing for ancestral rites is recognized even as a piece of work equipped with appealing. Writing for ancestral rites begins from the point that there exists memory that can be shared by both the living and the dead. In reconstructing the anecdote with the dead on the stage of ritual writing in detail, the writer's memory plays an important role. Chapter 3 titled as 'the Rhetorical Reconstruction of Elevated Sensitivity' examines rhetorical devices needed for writing for ancestral rites. Proper rhetoric is needed to upgrade the dignity of the ritual writing and arouse sympathy from the readers. Although writing for ancestral rites is supposed to express sadness in terms of its formal characteristics, it should not end up being a mere outlet of emotion. Chapter 4 looks into 'the Descriptive Reconstruction of Lamenting Sentiment'. There should be a clear focus of description to make the gesture of the living towards the being not existing in the world any longer an appealing story. While maintaining a distinct way of description, Gusadang organizes the noble character of the dead, pitiable death, the precious bond in the past, and the longing of those left for the dead systematically. Writing for ancestral rites is a field to mourn over the death and reproduce the sadness of the living through writing. To make the text written in that way get to work as ritual writing properly, it should be appealing necessarily. This study has found the fact that such appealing that gives life to ritual writing is grounded on authenticity.