• Journal of Life Science
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• v.20 no.3
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• pp.411-415
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• 2010

Anisakis simplex is one of the parasitic nematodes, and has a complex life cycle in crustaceans, fish, squid or whale. When people eat under-processed or raw fish, it causes anisakidosis and also plays a critical role in inducing serious allergic reactions in humans. However, no web-based database on A. simplex at the level of DNA or protein has been so far reported. In this context, we constructed a web-based database for Anisakis research. To build up the web-based database for Anisakis research, we proceeded with the following measures: First, sequences of order Ascaridida were downloaded and translated into the multifasta format which was stored as database for stand-alone BLAST. Second, all of the nucleotide and EST sequences were clustered and assembled. And EST sequences were translated into amino acid sequences for Nuclear Localization Signal prediction. In addition, we added the vector, E. coli, and repeat sequences into the database to confirm a potential contamination. The web-based database gave us several advantages. Only data that agrees with the nucleotide sequences directly related with the order Ascaridida can be found and retrieved when searching BLAST. It is also very convenient to confirm contamination when making the cDNA or genomic library from Anisakis. Furthermore, BLAST results on the Anisakis sequence information can be quickly accessed. Taken together, the Web-based database on A. simplex will be valuable in developing species specific PCR markers and in studying SNP in A. simplex-related researches in the future.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.3
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• pp.49-61
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• 2019

This study aims to examine the spatial recognition of the characters who visited Anuisamdong(安義三洞) in the past and left it in the literature. Thus, the school's relationship between people identified in the relevant literature was analyzed and the elements of landscape were extracted. The results were as follows; First, The figures who authored the literature on Anuisamdong were related to scholars living in Anuihyun(安義縣), along with the Yeongnam confucian genealogy. Starting with Jung, Yeo-Chang(鄭汝昌) in the 15th century, a relationship centered on Nammyeong School(南溟學派) in the 16th century was formed. At that time, people had toured the Anuisamdong regardless of the academic background. In the 17th century, Nammyeong School were in conflict with Toegye School(退溪學派), so Toegye School's influence had no record. In the 18th century, the proportion of Nammyeong School, Toegye School, and Kiho School(畿湖學派) appeared similar as they evolved into the Yeongnam School(嶺南學派). After the 19th century, the proportion of patriots who participated in the anti-Japanese movement was higher than that of schools. Second, The main places used in the literature related to Anuisamdongwere the order of Wonhakdong(猿鶴洞), Hwrimdong(花林洞) and Simjindong(尋眞洞). There are a total of 21 major elements used for the related literature, of which Suseungdae Rock(搜勝臺), Morijae House(某里齋), Nongwaljeong Pavilion(弄月亭), Sasundae Rock(四仙臺) and Cheoksuam Rock(滌愁巖) were the main subjects. Elements of Wonhakdong have been in the spotlight since the 16th century, focusing on Suseungdae Rock. Although the elements of Hwarimdong have been increasing gradually since the 18th century, the ratio of Simjindong to Wonhakdong and Hwarimdong was relatively small. Third, The relationship between the figures who visited the Anuisamdong and the spatial recognition of the Anuisamdong was divided into landscape awareness, emotional awareness and symbolic recognition. The Anuisamdong's scenic view is mostly identified by its description of the waterscape and topographical landscape, which people may have perceived as a scenic site centered on the valley view at the time. The mutual influence of Nammyeong School and Toegye School in the 16th and 17th centuries led to a scene in which the major figures of each school recognized pleasure as a culture of training, and a feeling of longing for the traces of past ancestors as the 18th century travel culture and the 19th century chaotic situation. In addition, the symbolic expression that usually appears is likely to have been recognized as a unworldly place, as the location of the immortal world is confirmed.

• Sijohaknonchong
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• v.23
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• pp.71-105
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• 2005

Toson-Shibigok(Twelve Songs of Toson) which T'oegye, Yi Hwang, composed has received a lot of attention in terms of its educational implications. These implications have become the essential part of Gojeon Sigas(classic songs and poems), and solid evidence has also been accumulated in the literature. Therefore, the purposes of this study are twofold, that is 1) to explore the impact of T'oegye's fundamental structure of the first education at that time and 2) describe how these educational attitudes will eventually yield meta- educational values. What T'oegye meant by fundamental structure of the first education was that Sijos originated from his own experience should be the vital part of teaching method. One can say that T'oegye's teaching method is more integrative than that of modern literature education in that it includes songs. Not only using his own teaching method, but T'oegye tried to demonstrate his own literary structure to his colleagues and the future generations. In the end, Meta-Education which comprises the heart of recent educational theories well reflects Toegye's theoretical propositions. Rather than giving practical knowledge, his method offers the paradigms of thought patterns and shows the learners' attitudes in approaching the truth. Moreover, T'oegye's teaching method has become a good example to the future generations as well as his contemporary followers. In sum, although a lot of years have passed since he died, T'oegye's Sijo works and life still have invaluable impact on the field of education.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.4
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• pp.36-48
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• 2010

The objectives of this study are to research and analyze the positioning of Mt. Back Hwa(白華山) and the characteristics of its neighboring cultural scenery based on the Two Seated Buddah Temple, a small Buddhist temple of Taeul in Taean and to view both landscape geographic codes and religious attractions over Mt. Back Hwa by discussing its expression and meaning for the scenery scattered or nested over this districts. The panoramic view of west shows the character of Mt. Back Hwa as a magnanimity of Buddhist Goddess of Mercy which is viewed as a view point field no less than its location as a landscape target and its singularity as a rocky mountain. The ancient castle, signal beacon post and the small Buddhist temple of Taeul to be read importantly in the old map and SinjeungDongkukyeojiseungram(新增東國輿地勝覽) form the core of place identity, and a number of carve(engrave) letters such as Eopungdae(御風臺), Youngsadae(永思臺), etc. show the prospect of this mountain and monumentality derived from place characteristics. In addition removing of Taeiljeon, a portrait scroll of Dangun, national ancestor makes possible to guess the national status hold by Mt. Back Hwa in advance and to know that it has symbiotic relationship with indigenous religion and shares with the universal locality which have been continued for a long time through a portrait scroll of Dangun enshrined in Samsunggak. More than anything else, however the Rock-carved Buddha Triad in Taean, Giant Buddha of Baekjae era enshrined in the small Buddhist temple of Taeul is not only why Mt. Back Hwa, magnanimity of Buddhist Goddess of Mercy exists but also a signifier. In spite of such a placity, the union ideas of confucianism, buddhism and doctrinism of buddhism prevailed in the Late Joseon Dynasty allows the cultural phenomenon of taoism to be read in the same weight through Ilsogae(一笑溪) and Gammodae(感慕臺) which are mountain stream and pond area respectively centered in the carve letter, 'Taeeuldongcheon(太乙洞天)' constructed in front of the small Buddhist temple of Taeul, the Baduk board type of rock carvings engraved over them and a number of traces of carve letters made by confucian scholars since the Middle of Joseon Dynasty. The reason such various cultural sceneries are mixed in Mt. Back Hwa is in the results of inheritance of religious places and fusion of sprit of the times, and the various type of cultural scenery elements scattered in Mt. Back Hwa are deemed as unique geographic code to understand the multi-layered placity and the characteristics of scenery of Mt. Back Hwa in Taean.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.1
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• pp.36-47
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• 2017

In this research, sematic comparative study on formative idea and landscape elements composition was made between Soswaewon which was a remote villa garden in Joseon Dynasty and Canglang Pavilion which was built at a time when Neo-confucianism had been created in Song dynasty. From which the summary was resulted as below: Firstly, Soswaewon was fully devoted to Neo-confucianism among Korean remote villa gardens, Canglang-Pavilion was deeply affiliated with Neo-confucianism the deep-rooted thought. Adding a comment, as a richly historied Chinese private garden it was the best preserved even now and the farmost point from now and approximately 500 years advanced than Soswaewon, moreover Sosunheum the builder belonged to gentry society in Song dynasty. Secondly, Both Soswaewon and Canglang-Pavilion were remarkable thank to nature friendly concept which was deeply rooted in the eremitic thought(隱逸思想). Most of all, it might be interpreted the location of Soswaewon lay down in a mountain, as to be swallow hidden(小隱) but that of Canglang-Pavilion lay down in a city, as to be middle hidden(中隱). Thirdly, approaching with comparative study to gardens' factors implicated in symbolization when naming both Soswaewon and Canglang-Pavilion, neo-confucianism in Song dynasty in which diverse thoughts ranging Confucianism and Buddhism and Taoism had formed ensemble and developed was deeply built in Soswaewon, as to be in consistency to nature and to be a basis for comprehending diverse symbolization factors found in Canglang-Pavilion. Fourthly, given that forms or factors of gardens was tangibly came up with thoughts' variation we surely underwent to comparative study. Through which we could know Soswaewon was made by maximizing use of nature but minimizing addition of artificial things. In other words, it was trial of expressing semantic feature of the site in a way blending natural circumstance and liberal one. One of the representatives, Daebongdae in Soswaewon was a site where the owner's idea came up with. Scenary was recreated and nature was represented in interspace of Canglang-Pavilion with the high wall around the border, for which it renounced the world. To the end, it was understood there was the location characteristic of Canglang-Pavilion which let us look down from mountain and take some time for introspection. It might be said that the cultural root was in common between Korea and China, however it was found there were lots of differences in forms and features of gardens. We were able to interpret that social and cultural background were led to gardens' formation in which individual characteristic of two nations were blended, from which difference was resulted.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.3
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• pp.16-25
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• 2018

Initially from the Taoist scriptures, 'Dongcheon' is a term that can be regarded as a symbolic place in the real world for the enlightened ones who received relief and peace by restoring the human nature taught in the Confucian school. The long for an ideal world apart from the reality embodied as the labeling some places 'Dongcheon,' and the term was used to refer to a scenery where the ideal fairyland is reproduced. Besides, 'Dongcheon' was a term often used by Confucian scholars for various purposes including the attachment to the nearby landscapes, expressing homogeneity and superiority through placeness and the beautification of settlement spaces. This paper is the result of a field study on 'Dongcheon' in the Gyeongsang-Do. The research was conducted from March to August 2018, and we carried out firsthand location surveys on Dongcheons, of which some were lost, others were fairly preserved, and still others could not be located as only their existences were passed down orally. According to the field survey, there were total 111 inscriptions or engravings on the plates in Gyeongsang-Do that include the term 'Dongcheon.' There were 79 'Dongcheon' inscriptions confirmed in the Gyeongsangbuk-Do region: twenty in Yeongju-City, sixteen in Bonghwa-Gun, eleven in Andong-City and seven in Yeongyang-Gun and Ulgin-Gun. Among them, two were in the form of a wooden sign, and six were erected as rock signposts. Fourteen stops reported in the literature were lost or unidentified. Also, among the sixteen signs in Bonghwa-Gun, nine were cursive engravings. Meanwhile, there were 26 Dongcheon inscriptions in the Gyeongsangnam-Do region. Hamyang-Gun and Sancheong-Gun anf Hadong-Gun each housed three inscriptions, and seven places were in the form of rock signposts. 'Hwagaedongcheon' and 'Geumsandongcheon' could not be identified in inscriptions although they appear in Jibong Yuseol and Taengniji with stories of Choi Chiwon. The significance of this study is as a reference for future researches in traditional scenery, epigraphs, or as primary data that helps cultural exploration in the region.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.3
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• pp.37-47
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• 2018

This study was attempted to understand present status and characteristics of landscape components of the domestic Korean Gugokwonlim created by the classical scholars in the Joseon Dynasty. The results are as follows. First, Distribution of Gukokwonlim in Korea shows that 55(51.4%) are located in Daegu and Gyeongsangbuk-do, and 22(20.56%) are located in Chungcheongbuk-do. Concentrated locations of Gugok are on the part of Baekdudaegan, from Sobaeksan mountain to Sokrisan mountain via Wolaksan mountain, and the Nakdong River basin of the Nakdong vein in the right bank. This consideration seems to be closely related to the academy of Yeongnam Confucianism and the their trend of Wonrim enjoyment. Second, according to the result of examining the distribution of Gugok according to the basic local government authority, The biggest number of the Gugok places(10 places, 9.35%) are located in Andong, which is called 'the capital of Korean spiritual culture.' Additionally in order, 9 places(9.45%) is located in Goesan, 8 places(7.48%) in Mungyung, 6 places(5.61%) in Bonghwa, and 5 places(4.67%) in Yeongju. Third, in order to the creating time of Gugokwonlim, 33 (33.0%) were created in $18^{th}$ century, and other 33 (33.0%) were created in $19^{th}$ century. In addition, 14 were created during $20^{th}$ century, while 13 were created in $17^{th}$ century. And 4 were created in $16^{th}$ century. Respectively. great number of $18^{th}$ and $19^{th}$ centuries shows that many(66.0%) Gugokwonrim were created between late 18th to 19th centuries. Fourth, There were 97(90.65%) of 'Gugok' in the form of collecting type, and a total number of bottom-up style Gugok were 99(92.5%) while top-down style Gugok were 8(7.5%). Fifth, Among the contents of Gugok, 67 were found in pome of Gugok(64.49%), 29 caved letters in rock(27.10%), and 16 in painting of Gugok(14.95%). Sixth, The most emerged landscape components of Gugok was Dae(臺) 124(13.05%), followed by Am(巖) 115[11.2%, including of Am(岩)] 115(11.2%), and Dam(潭) 73(7.68%), Jeong(亭) 48(5.05%), Dong(洞) 39(4.10%), San(山) 36(3.78%), Am(岩, rocks) 31(3.26 %), Bong(峯, peaks) 27(2.84%), Yeon(淵) 23(2.42%) and Chun(川) and Tan(灘) 22(2.31%). Mostly, common landscape components of Gugok are entrusted natural things. It is expected that more studies about the analysis of characteristics of Gugok's positioning types considering total distance and a gradient are required to understand more clearly characteristics and location distribution of true Gugok and its landscape components.

• Journal of the Korean association of regional geographers
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• v.20 no.3
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• pp.282-299
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• 2014

Cette $\acute{e}$tude a pour objectif de d$\acute{e}$velopper le g$\acute{e}$otourisme des $\hat{i}$les de Geomun et de Baek dans le Parc Marin National de Dadohae pour conna$\hat{i}$tre les caract$\acute{e}$ristiques de cette r$\acute{e}$gion du point de vue $\acute{e}$cologique, historique et culturel $\grave{a}$ partir de ses ressources g$\acute{e}$omorphiques et g$\acute{e}$ologiques qui ont la haute de valeur $prot{\acute{e}}g{\acute{e}}e$. Il y a plusieurs ressources g$\acute{e}$omorphiques et g$\acute{e}$ologiques sur l'$\hat{i}$le de Baek: falaise; caverne marine; tafoni; le relief li$\acute{e}$ $\grave{a}$ les roches volcaniques. Il y a aussi plusieurs ressources historiques et culturels sur les $\hat{i}$les de Go et d'Est: le cimeti$\grave{a}$r d'arm$\acute{e}$e anglaise li$\acute{e}$e $\grave{a}$ l'occupation ill$\acute{e}$gale de l'$\hat{i}$le de Geomun en 1885; le site historique de Kim Ryu(金劉) qui a enseign$\acute{e}$ les disciples de confucianisme et qui a $succ{\acute{e}}d{\acute{e}}$ au Confucius; la for$\hat{e}$t de feuillus de zone $temp{\acute{e}}r{\acute{e}}e$ sur l'$\hat{i}$le d'Ouest et la ceinture de falaise sur l'$\hat{i}$le de Baek. Une route g$\acute{e}$otouristique part de l'$\hat{i}$le d'Ouest et continue $\grave{a}$ l'$\hat{i}$le d'Est: c'est la route $\acute{e}$cologique, historique et culturel sur l'$\hat{i}$le de Geomun. L'autre route continue de la c$\hat{o}$te de l'$\hat{i}$le de Baek: c'est la route de paysages g$\acute{e}$omorphiques et g$\acute{e}$ologiques. Nous proposons des plusieurs exemples pour d$\acute{e}$velopper le g$\acute{e}$otourisme des $\hat{i}$les de Geomun et de Baek: installation de centre visiteur et de panneaux d'explication g$\acute{e}$otouristique sur le g$\acute{e}$osite central ; monitoring environmental.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.16 no.2
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• pp.1092-1100
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• 2015

This thesis is a part of a case study conducted in order to understand the trends of the 16th~17th century Cheongju region bigwigs, and has examined the life and academic stream of Seogye Deuk-Yoon LEE (1553-1630) focused on the previous study, "The Great Family Genealogy of Ikjaegong of the Gyeongju LEE Family". Seogye Deuk-Yoon LEE learned from his father Seomgye Jam LEE, and GiSEO, Ji-Hwa PARK from an early age, and based the basic orientation of his studies on one's moral and religious self one's moral and religious self'. This is how he became to emphasize "Sohak" (an introductory book of Confucianism for children), and he made an effort to realize the world of Neo-Confucianism by distributing the 'YEO's Hyangyak(Lue-shih-hsiang-yueeh : autonomic regulations of the district areas)' published on "Sohak". Furthermore, he made great effort in education of the Cheongju by regarding it as his own mission to teach young scholars, continuing on the footsteps of his father. Considering this, Seogye was not only a Confucian scholar that devoted himself to 'Sugi(moral training of himself', but was also a practical scholar that committed his sense of social responsibility in ' teaching' and 'governing the people, who greatly affected the academic world of the regional bigwigs of the Cheongju during the 17th century. Furthermore, Deuk-Yoon LEE was a member of the 'Nangseongpalhyeon(eight wise men of the Cheongju region) together with his disciple Deok-soo LEE, who performed a core role in establishing the 'Gihohakpa(Capital and Chungcheong province School)' and 'Hoseosarim(forest of scholars in Chungcheong province)' of the Cheongju region. As a main figure in establishing the Sinhang Confucian academy, he prepared the socio-economic basis for the 'Gihohakpa' to take place in the Cheongju, and by academically associating with Sagye Jang-Seng Kim without regarding their conflicting parties, he became the bridge in allowing his disciple, Deok-Soo LEE to associate with the academic stream and the 'Gihohakpa'. Through such roles, he allowed the relatively easy establishment of the 'Gihohakpa' and 'Hoseosarim', which continued to Jang-Seng KIM and Si-Yeol SONG, in order to prepare the basis and establish the strength of its basis in the Cheongju region from the late 17th century.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.1
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• pp.76-89
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• 2012

This study aimed at carrying out a semantic interpretation of the core Design language that seemed to influence deeply in the creation of the ChwuiseokJeong wonlim of Gochang. Especially, this paper aimed at inferring how the spiritual culture of seclusion of the 16th century influenced the creation of the wonlim by understanding the metaphor and symbolism by grasping the transmission meaning and reception meaning of the creators and the people concerned with keywords like Eunil(隱逸: seclusion), Chwuiseok(醉石), and Chilseongam(七星巖). 'Building up a wall' was intentionally carried out in order to represent 'Seven Stars(The Big Dipper)' inside of the wonlim. This is a kind of two-dimensional 'enframement', and a result of active creation of a meaningful landscape. From Chilseongam that was created by assembling, we presumed that Kyung-Hee Kim, Nohgye(蘆溪), the creator showed the recognition and thoughts of astronomy as a Confucian scholar that the ChwuiseokJeong Wonlim where he secluded is the center of the universe. The interpretation of words in Nohgyezip, an anthology, showed that the articles and writtings of Nohgye, his decsendants, and the people of ChwuiseokJeong included alcohols, Chwuiseok, Yeon-Myung Do, and Yuli(栗里) where Do secluded; this means that Nohgye ranked himself with Do because Nohgye also lived in peace by drinking alcohols and enjoying nature like Do did. 'Drinking' was what expressed the mind of Nohgye who wanted to be free and have the joy of enjoying mountains, water, and their landscape like Do did. In other words, 'Drinking' is the symbol of freedom that makes him forget himself and equate himself with nature. These are the representation, imitation, and mimesis of respecting Yeon-Myung Do. As the alegory of 'speaking something with other things' suggested, it is possible to read 'Chwuiseok', came from the story of Yeon-Myung Do, in multiple ways; it superficially points out 'a rock on which he laid when he was drinking', but it also can be interpreted as 'an object' that made him forget his personal troubles. In addition, it means freewill protecting unselfish mind with the spiritual aberration of drinking, 'Chwui(醉)', mentally; also, it can be interpreted metaphorically and broadly as a tool that makes Nohgye reach to the state of nature by the satisfied mind of Yeon-Myung Do. 'Chwuiseok' was a design language that showed the situation of Nohgye by comparing his mind with the mind of Yeon-Myung Do from the Confucian point of view, and a kind of behavioral mimesis based on his respect to Do and 'aesthetic representation of objective reality.' It is not coincidental that this mimesis was shown in the engraved words on Chwuiseok and the creation of ChwuiseokJeong that has the same name with Chwuiseok in Korea and China.