• Journal of Convergence for Information Technology
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• v.11 no.4
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• pp.111-121
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• 2021

In order to determine the possibility that Chrysanthemum indicum L. cultured with Lactococcus lactis (CILL) is a material for obesity suppression food, the body weight, body fat mass, and T cells were determined in C57BL/6 mice induced by a high fat diet. The CILL (25.15±2.44 g) demonstrated weight loss from week 4 onward and maintained a low weight gain from week 1 to week 8 (1.00±0.53 g). The 8-week body weight (30.38±4.17 g) indicated loss of 13.15% when compared to the HFD (60% high fat diet, 34.99±2.09 g). Fat mass decreased to 10.3022±2.8813 g, and the absolute liver weight decreased relative to that in the HFD. CD4+ T cells were 4.84±1.33%, CD8+ T cells 7.02±2.26%, and CD4+CD8+ T cells 1.46±0.81%, which were all higher than those in the HFD. As a result, CILL can be used as a material for preventing obesity as an effective measure toward reducing weight when consumed orally.

• The Journal of the Convergence on Culture Technology
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• v.10 no.3
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• pp.209-217
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• 2024

The purpose of this study is to explore development plans by analyzing social interests and perceptions of jiu-jitsu using big data analysis. Network analysis, centrality analysis, and CONCOR analysis were conducted by collecting data for the last 10 years of major domestic portal sites. First, 'judo' was found to be the most important related word in network analysis, and 'judo' was also an important word in the analysis of dgree centrality. In the closeness centrality analysis, "defender" was the most important word, and "sports" was the most important word in betweenness centrality. Finally, as a result of CONCOR analysis, four clusters (related sports and marketing, jiu-jitsu competitions, belt test, supplies and expenses) were formed. As a conclusion of the study, first, words such as 'judo', 'exercise', 'competition', 'dobok', 'gym', and 'graduation' should be actively used to promote jiu-jitsu.As a conclusion of the study, first, words such as 'judo', 'exercise', 'contest', 'dobok', 'gym', and 'graduation' should be actively used to promote jiu-jitsu. Second, it is necessary to share information on training costs through various routes, to make awareness of the graduation process or method common, and to develop safety products and create a safe training culture. Third, it is necessary to find ways to continuously increase the influx of new trainees by attracting steady competitions.

• Korean journal of communication and information
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• v.46
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• pp.449-484
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• 2009

It has been said that Gwangjudream, nevertheless a free press, plays a role as a local press that it should be, in a situation that other local papers do not. This study aims to reveal the forces that influence the article production of Gwangjudream, and to examine the interrelations between them, through using the methods of participant observations and depth interviews. In this course, it is eventually purpose of providing more deep understandings on the present circumstances and problems of the local papers and having a chance to concern the concrete ways to enhance them. This study results in revealing the five forces that primarily influence the article production of Gwangjudream: 1) as a historical force, keeping the spirit of the first publication that look forward to playing a role as a local press that it sound be, 2) as an individual force, the habitus of its members that is critical of mainstream society and culture, 3) as an organizational force, non-hierarchical culture and the independence of the editorial rights, 4) as a habitual force, the deny of beat system, 5) as an economical force, the power of sponsors, financial poorness, and the competition for attracting subscribers. While the historical force and the individual force play a role as fundamental circumstances and the organizational force and the habitual force as practical circumstances for producing articles, they encourage to emerge the characteristics of the articles that are related to citizens' everyday life and reflect locality, and criticize and keep an eye on government and other public offices. However, the economical force provides the circumstances that weaken the characteristics of Gwangjudream. The results of this study question the perspective to overly regard it as coming from their economical weakness that the local newspaper do not play a role as a local press that it should be.

• The Korean Journal of Nuclear Medicine
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• v.34 no.5
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• pp.393-402
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• 2000

Purpose: Tc-99m-MIBI (MIBI) and Tc-99m-Tetrofosmin (TF) are commonly used for scintimammog (SMM). We compared the diagnostic ability of SMM using Tc-99m-MIBI and Tc-99m-TF for the diagnosis of breast mass. Materials and Methods: The study subjects were comprised of 123 breast lesior 86 normal breasts of 114 patients who underwent SMM. Bilateral prone images and anterior supine images obtained at 5 minutes and 1 or 3 hours after intravenous injection of 740 MBq of either MIBI or TF. of tumors were not significantly different between the MIBI and TF groups. First, two observers read the SMM without clinical information (1st interpretation), then read again with information about location (2nd interpretation). Sensitivity and specificity of each radiopharmaceutical for the diagnosis of cancer were evaluated in terms of image acquisition time, tumor size, and location. Results: The SMM a good agreement between two observers for 1st and 2nd interpretation, except for TF SMM at 3 hr. first interpretation, the sensitivities at 5 min, 1 hr, and 3 hr were not significantly different between MIBI TF SMM (81.6%, 80.0%, 60.9% in MIBI vs. 88.9%, 80.6%, 42.9% in TF), although the sensitivities of images were significantly lower than 5 min images in both MIBI and TF SMM. The specificity of TF at was superior to that of MIBI (81.5%, 90.0%, 82.9% in MIBI vs. 96.7%, 100%, 90.0% in TF, p<0.01 MIBI TF at 5 min). For the second interpretation with information of mass location, the sensitivities at 3 hr were significantly lower than 5 min images (86.8%, 86.7%, 78.3% in MIBI vs. 88.9%, 93.5%, 57.1% between MIBI and TF SMM. However, there was no significant difference in the specificity (60.0%, 75.0% for MIBI vs. 86.7%, 100%, 100% for TF). MIBI and TF SMM showed lower sensitivities for the with less than 1 cm than tumors with more than 1 cm. However, the location of tumors did not sensitivity and specificity between MIBI and TF SMM. Conclusion: The ability for the differential of breast tumor is similar between MIBI and TF SMM, and delayed image is not necessary. TF may be than MIBI considering the specificity of SMM without clinical information and labeling convenience.

• The Korean Journal of Nuclear Medicine
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• v.32 no.4
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• pp.332-343
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• 1998

Purpose: The purpose of this study was to assess the diagnostic accuracy of various quantitation methods using F-18-fluorodeoxyglucose (FDG) in patients with malignant or benign lung lesion. Materials and Methods: 22 patients (13 malignant including 5 bronchoalverolar cell cancer; 9 benign lesions including 1 hamartoma and 8 active inflammation) were studied after overnight fasting. We performed dynamic PET imaging for 56 min after injection of 370 MBq (10 mCi) of FDG. Standardized uptake values normalized to patient's body weight and plasma glucose concentration (SUVglu) were calculated. The uptake rate constant of FDG and glucose metabolic rate were quantified using Patlak graphical analysis (Kpat and MRpat), three compartment-five parameter model (K5p, MR5p), and six parameter model taking into account heterogeneity of tumor tissue (K6p, MR6p). Areas under receiver operating characteristic curves (ROC) were calculated for each method. Results: There was no significant difference of rate constant or glucose metabolic rate measured by various quantitation methods between malignant and benign lesions. The area under ROC curve were 0.73 for SUVglu, 0.66 for Kpat, 0.77 for MRpat, 0.71 for K5p, 0.73 for MR5p, 0.70 for K6p, and 0.78 for MR6p. No significant difference of area under the ROC curve between these methods was observed except the area between Kpat vs. MRpat (p<0.05). Conclusion: Quantitative methods did not improve diagnostic accuracy in comparison with nonkinetic methods. However, the clinical utility of these methods needs to be evaluated further in patients with low pretest likelihood of active inflammation or bronchoalveolar cell carcinoma.

• Korean Journal of Heritage: History & Science
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• v.54 no.4
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• pp.192-211
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• 2021

In Seongju, Gyengsangbuk-do, the Placenta Chamber (胎室, Taesil) of 18 sons and a son of the crown prince of King Sejong(世宗大王) is located in one place. Taesil refers to the place where the umbilical cord and placenta, which are separated when the baby is born, are placed in a jar made of pottery and stone box and then buried on the ground. The placenta chamber in Seongju has the Buncheong ware (粉靑沙器) cover buried on the ground to protect the baby's placenta. These covers are all hemispherical, with a diameter of more the 20cm. The decorations were made using black and white inlaid techniques only on the outside. The Buncheong ware cover with this shape and pattern has been confirmed only in the placenta chamber in Seongju. This study targets 6 of the Buncheong ware cover whose owners were identified, when and where they were prepared, what the stylistic features and meanings are, and where it was produced. The results of the study are as follows. First, ss a result of reviewing the production background and procurement system of this bowl, it was inferred that it was sourced from Jangheunggo (長興庫) at the central government office, between 1436 and 1439, when the event to bury the placenta of royal members in the ground was the most active. Second, it analyzed the unique features of this cover, such as the shape, pattern, and baked traces. The shape and pattern were compared to the ritual objects contained in the Sejong Silok Oryeui (『世宗實錄』 「五禮」, Five Rites of King Sejong Chronicle) and the lid of the royal placenta jar made in the 15th and 16th centuries. Third, this study suggests that the baking method was based on the shape and location of the traces remaining outside the cover. Finally, the following data were used to estimate the production site: the relationship with the 'Jagiso (磁器所, ceramic workshop) registered in the Sejong Silok Jiriji (『世宗實錄』 「地理志」, Geographical Appendix of King Sejong Chronicle); various records of contribution and dedication about the Buncheong ware made here; and the Buncheong ware and related tools excavated from the kiln site in the area. The place where the Buncheong ware cover was produced is estimated to be the most likely production site for the kiln site in Chunghyo-dong Kiln Site, located in Jeolla-do province by synthesizing the data above.

• Korean Journal of Heritage: History & Science
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• v.43 no.4
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• pp.4-23
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• 2010

Danggol, in other words the hereditary shaman, is a person who is performing the Gut(the Korean shamanistic ritual) as the job but fortuneteller simply tells someone's fortunes. Nowadays most of fortunetellers think their works are wholly managed the Gut as the holy jobs. But Generally this kinds of jobs, we think it is lower than ordinary people's level of education in the korea. Actually we can meet eleven fortunetellers who have a college diploma out of them, so we can know that their education's level is increasing gradually. On the other hand a house of fortunetellers is the place where can lead the way of our lives in the method of seeing one's past life or making predictions of someone's coming events etc. Gradually this place seems to be separated with a private home, so the most of them is managing as the monthly rent. Consequently this houses are heavily located at the Gyerim five-way crossing, the Yang-dong Dakjeonmeory street, Jungheung-dong local culture street area. Each fortunetellers have the different ways of fortune-telling because this methods are decided by their one's characters. So their fortune-telling time and its time required for a task is far different. The methods of telling it is very much different in accordance with the learning fortuneteller or spiritualistic fortuneteller. But the process of fortune-telling is common like as a preparatory stage, carrying a Jumsa(fortune-telling) stage and acting by a Jumsa stage. These steps are sequential but linked together. There are six special features of fortune-telling culture in Gwang-Ju. 1. The role of a fortuneteller and Bosal(spirit-descended shaman) runs at the same time. 2. The house of fortune-telling is doing Gutdang(ritual house)'s works. 3. Its location are heavily collectivized at the specific districts. 4. The learning fortuneteller are increasing gradually. 5. The youth are growing use in the fortune-telling house. 6. There are many person that are visiting this house because of individual problems not their family's problems.

• Economic and Environmental Geology
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• v.54 no.2
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• pp.271-283
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• 2021

The Imjingang Belt in the middle-western Korean Peninsula has tectonically been correlated with the Permo-Triassic Qinling-Dabie-Sulu collisional belt between the North and South China cratons in terms of collisional tectonics. Within the belt, crustal-scale extensional ductile shear zones that were interpreted to be formed during collapsing stage with thrusts and folds were reported as evidence of collisional events by previous studies. In this study, we tried to understand the nature of deformation along the southern boundary of the belt in the Munsan area based on the interpretations of recently conducted structural analyses. To figure out the realistic geometry of the study area, the down-plunge projection was carried out based on the geometric relationships between structural elements from the detailed field investigation. We also conducted kinematic interpretations based on the observed shear sense indicators from the outcrops and the oriented thin-sections made from the mylonite samples. The prominent structures of the Munsan area are the regional-scale ENE-WSW striking thrust and the N-S trending map-scale folds, both in its hanging wall and footwall areas. Shear sense indicators suggest both eastward and westward vergence, showing opposite directions on each limb of the map-scale folds in the Munsan area. In addition, observed deformed microstructures from the biotite gneiss and the metasyenite of the Munsan area suggest that their deformation conditions are corresponding to the typical mid-crustal plastic deformation of the quartzofeldspathic metamorphic rocks. These microstructural results combined with the macro-scale structural interpretations suggest that the shear zones preserved in the Munsan area is mostly related to the development of the N-S trending map-scale folds that might be formed by flexural folding rather than the previously reported E-W trending crustal-scale extensional ductile shear zone by Permo-Triassic collision. These detailed examinations of the structures preserved in the Imjingang Belt can further contribute to solving the tectonic enigma of the Korean collisional orogen.

• The Korean Journal of Nuclear Medicine
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• v.39 no.6
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• pp.413-420
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• 2005

Purpose: Neuroreceptor PET studies require 60-120 minutes to complete and head motion of the subject during the PET scan increases the uncertainty in measured activity. In this study, we investigated the effects of the data-driven head mutton correction on the evaluation of endogenous dopamine release (DAR) in the striatum during the motor task which might have caused significant head motion artifact. Materials and Methods: $[^{11}C]raclopride$ PET scans on 4 normal volunteers acquired with bolus plus constant infusion protocol were retrospectively analyzed. Following the 50 min resting period, the participants played a video game with a monetary reward for 40 min. Dynamic frames acquired during the equilibrium condition (pre-task: 30-50 min, task: 70-90 min, post-task: 110-120 min) were realigned to the first frame in pre-task condition. Intra-condition registrations between the frames were performed, and average image for each condition was created and registered to the pre-task image (inter-condition registration). Pre-task PET image was then co-registered to own MRI of each participant and transformation parameters were reapplied to the others. Volumes of interest (VOI) for dorsal putamen (PU) and caudate (CA), ventral striatum (VS), and cerebellum were defined on the MRI. Binding potential (BP) was measured and DAR was calculated as the percent change of BP during and after the task. SPM analyses on the BP parametric images were also performed to explore the regional difference in the effects of head motion on BP and DAR estimation. Results: Changes in position and orientation of the striatum during the PET scans were observed before the head motion correction. BP values at pre-task condition were not changed significantly after the intra-condition registration. However, the BP values during and after the task and DAR were significantly changed after the correction. SPM analysis also showed that the extent and significance of the BP differences were significantly changed by the head motion correction and such changes were prominent in periphery of the striatum. Conclusion: The results suggest that misalignment of MRI-based VOI and the striatum in PET images and incorrect DAR estimation due to the head motion during the PET activation study were significant, but could be remedied by the data-driven head motion correction.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.54-88
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• 2019

The Album of Complete Views of Seas and Mountains comprises sixty real scenery landscape paintings depicting Geumgangsan Mountain, the Haegeumgang River, and the eight scenic views of Gwandong regions, as well as fifty-one pieces of writing. It is a rare example in terms of its size and painting style. The paintings in this album, which are densely packed with natural features, follow the painting style of the Southern School yet employ crude and unconventional elements. In them, stones on the mountains are depicted both geometrically and three-dimensionally. Since 1973, parts of this album have been published in some exhibition catalogues. The entire album was opened to the public at the special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea" held at the National Museum of Korea in 2019. The Album of Complete Views of Seas and Mountains was attributed to Kim Eung-hwan (1742-1789) due to the signature on the final leaf of the album and the seal reading "Bokheon(painter's penname)" on the currently missing album leaf of Chilbodae Peaks. However, there is a strong possibility that this signature and seal may have been added later. This paper intends to reexamine the creator of this album based on a variety of related factors. In order to understand the production background of Album of Complete Views of Seas and Mountains, I investigated the eighteenth-century tradition of drawing scenic spots while travelling in which scenery of was depicted during private travels or official excursions. Jeong Seon(1676-1759), Sim Sa-jeong(1707-1769), Kim Yun-gyeom(1711-1775), Choe Buk(1712-after 1786), and Kang Se-hwang(1713-1791) all went on a journey to Geumgangsan Mountain, the most famous travel destination in the late Joseon period, and created paintings of the mountain, including Album of Pungak Mountain in the Sinmyo Year(1711) by Jeong Seon. These painters presented their versions of the traditional scenic spots of Inner Geumgangsan and newly depicted vistas they discovered for themselves. To commemorate their private visits, they produced paintings for their fellow travelers or sponsors in an album format that could include several scenes. While the production of paintings of private travels to Geumgangsan Mountain increased, King Jeongjo(r. 1776-1800) ordered Kim Eung-hwan and Kim Hong-do, court painters at the Dohwaseo(Royal Bureau of Painting), to paint scenic spots in the nine counties of the Yeongdong region and around Geumgangsan Mountain. King Jeongjo selected these two as the painters for the official excursion taking into account their relationship, their administrative experience as regional officials, and their distinct painting styles. Starting in the reign of King Yeongjo(r. 1724-1776), Kim Eung-hwan and Kim Hong-do served as court painters at the Dohwaseo, maintained a close relationship as a senior and a junior and as colleagues, and served as chalbang(chief in large of post stations) in the Yeongnam region. While Kim Hong-do was proficient at applying soft and delicate brushstrokes, Kim Eung-hwan was skilled at depicting the beauty of robust and luxuriant landscapes. Both painters produced about 100 scenes of original drawings over fifty days of the official excursion. Based on these original drawings, they created around seventy album leaves or handscrolls. Their paintings enriched the tradition of depicting scenic spots, particularly Outer Inner Geumgang and the eight scenic views of Gwandong around Geumgangsan Mountain during private journeys in the eighteenth century. Moreover, they newly discovered places of scenic beauty in the Outer Geungang and Yeongdong regions, establishing them as new painting themes. The Album of Complete Views of Seas and Mountains consists of four volumes. The volumes I, II include twenty-nine paintings of Inner Geumgangsan; the volume III, seventeen scenes of Outer Geumgangsan; and the volume IV, fourteen images of Maritime Geumgangsan and the eight scenic views of Gwandong. These paintings produced on silk show crowded compositions, geometrical depictions of the stones and the mountains, and distinct presentation of the rocky peaks of Geumgangsan Mountain using white and grayish-blue pigments. This album reflects the Joseon painting style of the mid- and late eighteenth century, integrating influences from Jeong Seon, Kang Se-hwang, Sim Sa-jeong, Jeong Chung-yeop(1725-after 1800), and Kim Hong-do. In particular, some paintings in the album show similarities to Kim Hong-do's Album of Famous Mountains in Korea in terms of its compositions and painterly motifs. However, "Yeongrangho Lake," "Haesanjeong Pavilion," and "Wolsongjeong Pavilion" in Kim Eung-hwan's album differ from in the version by Kim Hong-do. Thus, Kim Eung-hwan was influenced by Kim Hong-do, but produced his own distinctive album. The Album of Complete Views of Seas and Mountains includes scenery of "Jaundam Pool," "Baegundae Peak," "Viewing Birobong Peak at Anmunjeom groove," and "Baekjeongbong Peak," all of which are not depicted in other albums. In his version, Kim Eung-hwan portrayed the characteristics of the natural features in each scenic spot in a detailed and refreshing manner. Moreover, he illustrated stones on the mountains using geometric shapes and added a sense of three-dimensionality using lines and planes. Based on the painting traditions of the Southern School, he established his own characteristics. He also turned natural features into triangular or rectangular chunks. All sixty paintings in this album appear rough and unconventional, but maintain their internal consistency. Each of the fifty-one writings included in the Album of Complete Views of Seas and Mountains is followed by a painting of a scenic spot. It explains the depicted landscape, thus helping viewers to understand and appreciate the painting. Intimately linked to each painting, the related text notes information on traveling from one scenic spot to the next, the origins of the place names, geographic features, and other related information. Such encyclopedic documentation began in the early nineteenth century and was common in painting albums of Geumgangsan Mountain in the mid- nineteenth century. The text following the painting of Baekhwaam Hermitage in the Album of Complete Views of Seas and Mountains documents the reconstruction of the Baekhwaam Hermitage in 1845, which provides crucial evidence for dating the text. Therefore, the owner of the Album of Complete Views of Seas and Mountains might have written the texts or asked someone else to transcribe them in the mid- or late nineteenth century. In this paper, I have inferred the producer of the Album of Complete Views of Seas and Mountains to be Kim Eung-hwan based on the painting style and the tradition of drawing scenic spots during official trips. Moreover, its affinity with the Handscroll of Pungak Mountain created by Kim Ha-jong(1793-after 1878) after 1865 is another decisive factor in attributing the album to Kim Eung-hwan. In contrast to the Album of Famous Mountains in Korea by Kim Hong-do, the Album of Complete Views of Seas and Mountains exerted only a minor influence on other painters. The Handscroll of Pungak Mountain by Kim Ha-jong is the sole example that employs the subject matter from the Album of Complete Views of Seas and Mountains and follows its painting style. In the Handscroll of Pungak Mountain, Kim Ha-jong demonstrated a painting style completely different from that in the Album of Seas and Mountains that he produced fifty years prior in 1816 for Yi Gwang-mun, the magistrate of Chuncheon. He emphasized the idea of "scholar thoughts" by following the compositions, painterly elements, and depictions of figures in the painting manual style from Kim Eung-hwan's Album of Complete Views of Seas and Mountains. Kim Ha-jong, a member of the Gaeseong Kim clan and the eldest grandson of Kim Eung-hwan, is presumed to have appreciated the paintings depicted in the nature of Album of Complete Views of Seas and Mountains, which had been passed down within the family, and newly transformed them. Furthermore, the contents and narrative styles of Yi Yu-won's writings attached to the paintings in the Handscroll of Pungak Mountain are similar to those of the fifty-one writings in Kim Eunghwan's album. This suggests a possible influence of the inscriptions in Kim Eung-hwan's album or the original texts from which these inscriptions were quoted upon the writings in Kim Ha-jong's handscroll. However, a closer examination will be needed to determine the order of the transcription of the writings. The Album of Complete View of Seas and Mountains differs from Kim Hong-do's paintings of his official trips and other painting albums he influenced. This album is a siginificant artwork in that it broadens the understanding of the art world of Kim Eung-hwan and illustrates another layer of real scenery landscape paintings in the late eighteenth century.