• Korean Journal of Heritage: History & Science
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• v.50 no.3
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• pp.4-29
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• 2017

The purpose of this study is to grasp the commencement date of Korean-type bronze dagger through the chronology of Chinese data. It focuses on the fact that the same section polishing technique appears both in Korean type bronze dagger and Dongzhou type bronze dagger. Dongzhou type bronze dagger in Anqiu Shandong, in which A1 type section polishing technique is observed, was said to have been collected remains in 1958, but the clear excavation cannot be identified. Therefore, this study presents Tomb No.1 Zuojiawa Jinan, Dongzhou type bronze dagger, and associated products. As associated products, bronze weapon and bronze ware were excavated, whose periods are estimated to be in the Spring and Autumn period, the transition period of Warring States, and the former part of the China's Warring States. Accordingly, the Korean bronze dagger, excavated in the remains of the Han Peninsula appears to have run parallel with the Dongzhou type bronze dagger of the A1 type section polishing technique, excavated in China for a fixed period. In addition, the chronology of Tomb No. 61MI grave in Wanrongmiaoqian, Shanxi is estimated to range from the former part to the middle part of the China's Warring States, which is identified to be connected to the A1 type section polishing technique. Examining the data of the relative date, we can find out that the Commencement Period of the Korean type bronze dagger Culture is seen to be the transition period and the former part of the China's Warring States, which is estimated to be the 5th and 4th centuries BC. This chronology is followed by Tomb No.6512 Zhengjiawazi Shenyang, recorded as the 6th century B.C. which reveals that Liaoning type bronze dagger culture and Korean-typed Bronze Dagger Culture are naturally connected. Furthermore, the A1 type section polishing technique was distributed in the southwestern area of the Korean peninsula and Shandong, China, while the A2 type section polishing technique was distributed in the southern area of the Korean peninsula, Shanxi-Province in China, and Northern Kyushu region in Japan. Seen from the weapon-shaped bronze ware of the section polishing technique, Shanxi area(Central Plains area), China. the southwestern area of the Korean peninsula (northwest area), and Northern Kyushu region in Japan are set up as one traffic road(spreading route). This demonstrates that the section polishing technique emerged around the Han Peninsular, spreading the technique regionally.

• Korean Journal of Heritage: History & Science
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• v.49 no.1
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• pp.84-97
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• 2016

One of the assimilation policies of Japanese imperialism for the permanent domination in the colonial Joseon is the theory of integration of Japan and Joseon. The theory of integration of Japan and Joseon is a logic that Joseon (Korea) and Japan (Wae) were connected to the same ancestor on the basis of ancient myths. Also it is the assimilation ideology to justify the Colonial rule of those days through the objectification of historical identity or affinity of political and cultural relations of ancient Korean peninsula and Japan (Wae). Japan reorganized our history to meet the colonial point of view, as part of the assimilation policies based on the theory of integration of Japan and Joseon. On the other hand Japan attempted to objectify them through archaeological research and the reinterpretation of the historical remains. The survey, reinterpretation and tourist of the historic sites in historic cities such as Gyeongju and Buyeo were promoted in this context. In particular, the Buyeo, a capital of Baekje, was emphasized upon the close relevance and affinity between Sabi, Baekje and ancient Asuka (飛鳥) in Japan through research and reinterpretation on the Historic Sites. Based on them, Historic Sites Tourism was conducted by reconstructed historic sites toward the colonial Korean. In addition, after the Sino-Japanese war in 1937, Japan tried to realize the politics of space by upgrading and idealizing Buyeo as homeland or Shinto (神都) related to Japanese ancient mythology of the Asuka culture. This paper investigated in what context research, reinterpret and tourist of the historic sites progressed on Buyeo area and how it had soaked through the general public in the Japanese colonial era. First, it is on historic sites. Historic sites research on Buyeo area made an attempt by Sekino Tadashi in 1909 for the first time and the re-excavation of the old burial mounds and temple sites during the Japanese colonial period. Sekino set up a cultural relationship and influences between the ancient China (梁), Korea (百濟) and Japan (倭). Also, he emphasized that Sabi, Baekje largely received influence of Chinese culture and Baekje and Japan Asuka culture had closely relations and affinity. These views had been consistent during the Japanese colonial period. Second, it is the reinterpretation on Historic sites. Buyeo Historic Sites Preservation Society (Buyeo Gojeok Bojonhoe) was established in 1915 and Osaka Kintaro, curator of Baekje exhibition hall redefined the relationship between ancient Japan and Baekje as perspective of the assimilation ideology through the post contextual interpretation. In particular, they emphasized on the close relevance between Baekje's Historic sites and Japan, through the reinterpretation of Nakhwaam, Goransa and Cheongmasanseong. Third, it is the tourist on Historic sites. Buyeo Historic Sites Preservation Society played a leading role in Tourist on Historic sites at the Buyeo region. The main tourist destinations and course were restructured through a reinterpretation on the historic sites. Japan would like to show Buyeo as ideology area, homeland of ancient Japanese culture, toward the Koreans under Japanese colonial era. Thus, research, reinterpretation, and tourism on Historic sites were promoted while they were closely related to each other. The promoting body was Joseon Chongdokbu and pro-Japanese interest group. It's point was 'made' and 'shown' by the eyes of others and a rediscovery of Buyeo as representational space of colony.

• Korean Journal of Plant Taxonomy
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• v.48 no.4
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• pp.249-259
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• 2018

$Iso{\ddot{e}}tes$ L. ($Iso{\ddot{e}}taceae$) is a cosmopolitan genus of heterosporous lycopods containing ca. 200 species being found in lakes, streams, and wetlands of terrestrial habitats. Despite its ancient origin, worldwide distribution, and adaptation to diverse environment, species in $Iso{\ddot{e}}tes$ show remarkable morphological simplicity and convergence. Allopolyploidy appears to be a significant speciation process in the genus. These characteristics have made it difficult to assess the phylogenetic relationships and biogeographic history of $Iso{\ddot{e}}tes$ species. In recent years, these difficulties have somewhat been reduced by employing multiple molecular markers. Here, we reconstruct the phylogenetic relationships in East Asian $Iso{\ddot{e}}tes$ species. We also provide their divergence time and biogeographic origin using a fossil calibrated chronogram. East Asian $Iso{\ddot{e}}tes$ species are divided into two clades: I. asiatica and the remaining species. $Iso{\ddot{e}}tes$ asiatica from Hokkaido forms a clade with northeastern Russian and western North American $Iso{\ddot{e}}tes$ species. In clade I, western North America is the source area for the dispersal of $Iso{\ddot{e}}tes$ to Hokkaido and northeastern Russia via the Bering land bridge during the late Miocene. The remaining $Iso{\ddot{e}}tes$ species (I. sinensis, I. yunguiensis, I. hypsophila, I. orientalis, I. japonica, I. coreana, I. taiwanensis, I. jejuensis, I. hallasanensis) from East Asia form a sister group to Papua New Guinean and Australian species. The biogeographic reconstruction suggests an Australian origin for the East Asian species that arose through long-distance dispersal during the late Oligocene.

• Journal of Climate Change Research
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• v.1 no.2
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• pp.133-145
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• 2010

This study examined the characteristics of tropical cyclone(TC) activity over the western North Pacific(WNP) in 2009. Twenty-two TCs formed in 2009, which is slightly below normal(1979~2009 average: 25.8) and most of these occurred during the months of July to October. Most TCs in 2009 was formed over the northern Philippines and the eastern part of the WNP and they moved towards the South China Sea and the east of Japan, resulting in less TC affecting the East China Sea and Korea. The TC activity in 2009 is modulated by the large-scale circulations induced by the El $Ni{\tilde{n}}o$ and vigorous convection activity over the WNP. As the general characteristics of El $Ni{\tilde{n}}o$ year, the difference in sea surface temperature between the central Pacific and the eastern Pacific causes an anomalous westerly winds, expanding the WNP monsoon trough farther eastward. Accordingly, TC formation has relatively increased in the east part of the WNP. Active convection activities over the subtropical western Pacific excite a Rossby wave propagating from the South China Sea to mid-latitudes, resulting in an anomalous easterly steering flow in the South China, anomalous northwesterly over the East China Sea and Korea, and anomalous southwesterly over the east of Japan. Summing up, the TCs cannot enter the East China Sea and Korean region and instead they move towards the South China Sea or south-east of Japan. There were no effects of TCs in Korea in 2009. It is anticipated that this study which analyzed unusual TC activity and large-scale circulations in 2009 would help the predictability of TC effects to increase according to climate change in the East Asia.

• Cross-Cultural Studies
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• v.52
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• pp.165-194
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• 2018

Employing Fairclough's critical discourse analysis (CDA), the purpose of this study was to analyze linguistically significant features, intertextuality, and sociocultural practice focusing on selected editorials of The Global Times, $Hu{\acute{a}}nqi{\acute{u}}$ Shíbào on the 2018 United States-China Trade War. The editorial titled "With the strong will of 'the War to Resist America and Aid Chosun,' let us go through the trade war against America" focused on the use of 'war' related vocabulary in the frame of 'war.' First, "Trade War" and "War to Resist America and Aid Chosun" are examples that reveal metaphors and a war frame. Second, "Strategy" is used positively for China but negatively towards America. Third, various war related words are used. Fourth, cases of allusion illustrate war. Intertextuality in terms of discourse practice pertains to two findings. First, The Global Times, $Hu{\acute{a}}nqi{\acute{u}}$ Shíbào repeatedly uses the phrase 'equivalent revenge.' That is because the expression enables China to justify their counterattack and such war that China may wage can be interpreted as just counterattack much like a self-defense mechanism. Second, the expression, 'the counterattack is not intended but it is not fearful' is repeated in several editorials of the newspaper. The reasons are the following: 1) it is used to appeal to the public, 2) by invoking the feeling of fear, the public should be understand why they should unite, and 3) the expression, "it is not fearful" is used to preserve China's global image and "the counterattack is not intended" is used to signal China's will to America. The whole expression is a good example of intertextuality that repetitively illustrates the intended meaning of China in nine editorials in the newspaper within three months, March 23-June 17, 2018. Finally, sociocultural practice is manipulated through the editorial for disseminating the Chinese government's hegemonic ideology. First, it is clear that the core national project, "China Manufacturing 2025" cannot be abandoned. Second, by calling for "War to Resist America and Aid Chosun" the editorial is manipulated to condemn and intimidate America, avoid dissent of the people, appeal to the people, and empower the government. Third, China somehow wants to open up the possibility of negotiation with the United Sates.

• Journal of the Korean Society of Radiology
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• v.13 no.2
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• pp.193-200
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• 2019

The study was conducted surveying ultrasound room workers on hospital infection awareness in Daejeon and Choong-chunng region. The contamination of ultrasonic probes used in clinical trials was measured using ATP, and the results were verified after using 70% alcohol sterilization. It was measured on the group's general characteristics and the specific categories such as academic background, job type, having professional certificate and infection education. After the examination, the gel removal and method, disinfection status of the probe and variable correlation analysis were performed to analyze the recognition of the ultrasonic probe disinfection. After examination in ultrasound room, it was found that towels were used the most for cleaning, and the gel container was not replaced for more than three months. After 70% alcohol disinfection, ATP contamination was reduced from $1055.4{\pm}944.2$ to $133.5{\pm}93.2$ and the result was analyzed to be statistically significant.(${\rho}<0.01$) The found bacteria were CNS, Gram positive bacillus, and Micrococcus specs. In order to solve this problem, 70% alcohol sterilization was applied and the bacteria were not detected after the treatment. The research shows that regular training on infection control and efforts to prevent infection are necessary, and that 70% alcohol is effective in disinfect the bacteria. Therefore, the medical institution should provide active hospital infection control education to improve the awareness of hospital infection among workers and contribute to the prevention of patient infection. It is also understood that proper use of the results of this study will help prevent infection by means of ultrasonic probes.

• Korean Journal of Heritage: History & Science
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• v.41 no.2
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• pp.79-97
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• 2008

Four Wangs' landscape style (四王山水畵風), which had appeared in Beijing in the early 18th century, widely spread to Korea and Japan in the 19th century and became a significant basis for developing new painting styles in both countries. It was first introduced to Korea by Shin Wi (申緯) and Kim Jeong-hee (金正喜) who associated with literary men of the Qing Dynasty. Being influenced by them directly or indirectly, Shin Myeong-yeon (申命淵), Yi Han-cheol (李漢喆), Yu Suk (劉淑), Changv Seung-eop (張承業), An Choog-sik (安中植), and Jo Seok-jin (趙錫晋) attempted to adapt Four Wangs' landscape style and it later became a main Stream painting style of the Korean painting circles. Based on Four Wangs' landscape style, their landscape paintings had something in common in that they captured natural features from a short distance using the Down-Up prospective and placed guardian mountains across mountain streams by making a tall tree in the right or left bottom of the canvas as the starting point. However, recently unveiled court painter An Geon-yeong (1841~1876)'s the Landscape Screen is remarkable in that it is based on Four Wangs' style, which was in fashion in the late 19th century, but shows different aspects from other Four Wangs' style paintings in terms of feature capturing, brush stroke and colors. While most of An Geon-yeong's existing paintings are small ones, this folding screen is a big piece consisting of six-fold landscape paintings. In particular, it shows new aspects by creating a serene and calm atmosphere through the description of various landscape scenes with thin brush strokes using glossy ink, by showing a macroscopic view in some paintings through feature capture using a birds-eye view method, and by giving life to the canvas through smoke and clouds. This painting style is considered to be linked with those of Wang Xue-hao (王學浩, 1754~1832), Tang Yifen (湯貽汾, 1778~1853) and Dai Xi (戴熙, 1801~1860), based on Four Wangs' style in the early 19th century's Jiangnan Circle (江南 畵壇), who tried to express the energy and vitality of real landscapes by going around China's well-known mountains and complementing painting styles with drawing from nature. Therefore, An Geon-yeong's six-fold Landscape Screen is very significant as a rare case proving the introduction and reception of Jiangnan Circle's Four Wangs' landscape style which was different in many aspects from Beijing Circle in the 19th century.

• Korean Journal of Heritage: History & Science
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• v.48 no.1
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• pp.4-23
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• 2015

In the Buddhist paintings of the four devas, there is a change in the paper material of V aisravana(多聞天) in the early Joseon Dynasty. Until Goryeo Dynasty, Damuncheonwang, who holds a tower(塔) on the right side of Buddha was changed to the form which holds a mandolin(琵琶) in the early Joseon Dynasty. This change was first checked in Byeonsangdo in the Yuan period "The Avatamska Sutra(大方廣佛華嚴經, 1330~1336)", however the actual paper material change in the Buddhist painting is found first as a mural at the Tibetan temples, Cheolbangsa(哲蚌寺), Odunsa(吳屯寺), Baekgeosa(白居寺), which showed the change of tower which Vaisravaṇa held into mongoose. In Joseon Dynasty, also, new distribution of the four devas appeared first, which showed the change of paper material in the first floor roof-stones of Wongaksaji sipcheung seoktap, . However, the position of the four devas which held a tower and a mandolin consistently appear in the Buddhist paintings in the early Joseon Dynasty by mixing on the left and the right. This means the possibility that the paper material and the position of the four devas might be flexible in the early Joseon Dynasty. Just like reflecting this, painting image of the four devas in illustration of "saddharma-pundari-ka-$s{\bar{u}}tra$(Ming 1432, National Museum of Korea)" and illustration of "Jebulsejonyeorae-bosaljonjamyeongching-gagok(제불세존여래 보살존자명칭가곡, 1417)" has opposite position from each other. Therefore, the phenomenon in the Buddhist paintings of the early Joseon had a transitional characteristic which did not secure the fixed form of painting image by illustration of two copies where paper materials of the four devas were different, which characteristic can be said to be the characteristic of art in the transitional period.

• Korean Journal of Heritage: History & Science
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• v.52 no.3
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• pp.56-73
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• 2019

This paper aims to establish the technical style of roof tiles by analyzing East Asian roof tile making techniques. It will examine the existing main research data, such as excavation results and the subsequent analysis of the roof tiles' production traces, as well as references and transmitted techniques. Regions are grouped according to technical similarity, then grouped again by artistic styles of pattern and shape and by the technical styles of tools, procedures, and manpower plans. Accordingly, intends to find out whether an understanding of technical style can facilitate an understanding of not only cultural aspects, but also the causality of techniques. Korean, Chinese and Japanese tools were examined, and procedures for making roof tiles were classified into 4 groups. In a superficial way, China, Okinawa, Korea, and Honshu share similar technical traits. Research of procedural details and manpower plans revealed characteristics of each region. As a result, comparisons were made between each region's technical characteristics attempting to investigate their causes. The groups were classified according to their possessing techniques, but it was revealed that East Asia's shared production techniques were based on architectural methodss. The skill of "Pyeon Jeol(Clay Cutting)" classified according to its possessing techniques, turned out to be one such technique. Also, the procedure of technical localization based on the skill of "Ta-nal(Tapping)" showed that the condition of this technique was the power to localize in response to a transfer of techniques. Previous comparison parameters of artifacts would have been a similarity of style originated from exchanges between regions and stylistic characteristics of regions decided by the demander's taste of beauty. This methodology enlarges cultural perception and affords a positive basis of historical facts. However, it suggests the possibility of finding cultural aspects' origins by understanding the technical style and seeing same result in view of "technology culture."

• Journal of Ginseng Culture
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• v.1
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• pp.78-92
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• 2019

Among the Southeast Asian countries, Vietnam had the most cultural exchange with Korea. Through Confusion and Chinese character, which were the common measure for two countries, Korea and Vietnam could communicate and share a sentiment with each other. Two countries showed an enormous interest in each other, and hence they could keep good relationship without official diplomatic relations. During the early 19th century, Korean Ginseng had gained tremendous popularity in Vietnam. Vietnamese believed the stamina of Minh Mang, who had 142 sons and daughters, originated from ginseng. Minh Mang bestowed ginseng on old courtiers for their contribution, which made them more loyal to the king. This tradition was inherited to the future generations, and soldiers who fought with Thai, Cambodia and France also received ginseng for their contribution. In other words, ginseng was the very important key for enforcement of patriotism. Due to the tradition, Korean ginseng has been considered as the premium ginseng in Vietnam. It is presumed that ginseng flew into Vietnam through 4 routes; 1) as an imperial gift from Chinese emperor, 2) by the Vietnamese ambassadors who went to Beijing for a tribute, 3) through private trade and 4) from Ryukyu or Japan, which were the hub of international trade. From 15th to 18th century, ambassadors from Chosun and Vietnam actively interacted in Beijing. Through their interchange, Vietnamese royal family could learn about the value of ginseng. The fact that there were many Shilhak scholars among the ambassadors from Joseon, such as Seo Geojeong and Seo Hosu who had profound knowledge of ginseng proves the theory. It is also possible that reputation of ginseng was already established in Vietnam during Silla period. Ko Byung, an bureaucrat from Tang Dynasty who ruled Vietnam for 10 years in middle 9th century and a friend of Choi Chiwon, might have delivered the knowledge of ginseng to the upper class in Vietnam. This hypothesis, however, should be proven by literatures. Hence, further research about the trace of Korean ginseng in Vietnamese history and literary works still remains to be done.