• Korean Journal of Environmental Agriculture
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• v.18 no.3
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• pp.250-258
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• 1999

The purpose of this study was to compare heavy metal concentrations in uncontaminated soil with those in soil influenced by industrial activities, and to investigate the relationship between change of heavy metal content and the kind of industry at the Iksan 2nd Industrial Complex that has started since 1995. Soils sampled in 0-3 cm and 3-6 cm soil depth, respectively were analized for content of Cd, Cu, Ni, Pb and Zn. The content of Cd in soil layer of 0 to 3 cm was 0.07-4.37ppm range, average concentration was 0.516ppm and 3-6 cm was 0.07-8.52ppm range, average concentration was 0.380ppm. Area of the chemicals, dyes and metal products manufacturing were higher than the other manufacturing area in Industrial Complex. The content of Cu in soil layer of 0 to 3 cm was 0.61-42.62ppm range, average concentration was 11.087ppm and 3-6 cm was 0.16-35.45ppm range, average concentration was 7.578ppm. Area of the metal products manufacturing were higher than the other manufacturing area in Industrial Complex. The content of Ni in soil layer of 0 to 3 cm was 0.19-15.93ppm range, average concentration was 5.525ppm and 3-6 cm was 0.39-15.59ppm range, average concentration was 5.310ppm. Area of the metal and chemical products manufacturing were higher than the other manufacturing area in Industrial Complex. The content of Pb in soil layer of 0 to 3 cm was 3.10-55.75ppm range, average concentration was 23.543ppm and 3-6 cm was 3.35-46.55ppm range, average concentration was 19.198ppm. Area of the chemicals and metal products manufacturing were higher than the other manufacturing area in Industrial Complex. The content of Zn in soil layer of 0 to 3 cm was 26.50-943.00ppm range, average concentration was 158.329ppm and 3-6 cm was 35.45-882.45ppm range, average concentration was 127.914ppm. Area of the chemicals and metal products manufacturing were higher than the other manufacturing area in Industrial Complex. As the result, this study was to compare Cd, Cu, Ni, Pb, Zn average concentration in uncontaminated soil of world with those in soil, that Cu, Ni were uncontaminated concentration level, Cd was somewhat higher compare with the concentration level of world, Pb and Zn were very higher. Soil contaminated degree of Iksan 2nd Industrial Complex was known a difference by type of industrial activities(chemical, dyes and metal of products)

• The Korean Journal of Air & Space Law and Policy
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• v.28 no.1
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• pp.115-157
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• 2013

Some contracting States of the Convention on International Civil Aviation (commonly known as the Chicago Convention) issue FAOC(Foreign AOC and/or Operations Specifications) and conduct various safety audits for the foreign operators. These FAOC and safety audits on the foreign operators are being expanded to other parts of the world. While this trend is the strengthening measure of aviation safety resulting in the reduction of aircraft accident, it is the source of concern from the legal as well as economic perspectives. FAOC of the USA doubly burdens the other contracting States to the Chicago Convention because it is the requirement other than that prescribed by the Chicago Convention of which provisions are faithfully observed by almost all the contracting States. The Chicago Convention in its Article 33 stipulates that each contracting State recognize the validity of the certificates of airworthiness and licenses issued by other contracting States as long as they meet the minimum standards of the ICAO. Consequently, it is submitted that the unilateral action of the USA, China, Mongolia, Australia, and the Philippines issuing the FOAC to the aircraft of other States is against the Convention. It is worry some that this breach of international law is likely to be followed by the European Union which is believed to be in preparation for its own unilateral application. The ICAO established by the Chicago Convention to be in charge of safe and orderly development of the international civil aviation has been in hard work to both upgrade and emphasize the safe operation of aircraft. As the result of these endeavors, it prepared a new Annex 19 to the Chicago Convention with the title of "Safety Management" and with the applicable date 14 November 2013. It is this Annex and other ICAO documents relevant to the safety that the contracting States to the Chicago Convention have to observe. Otherwise, it is the economical burden due to probable delay in issuing the FOAC and bureaucracies combined with many different paperworks and regulations depending on where the aircraft is flown. It is exactly to avoid this type of confusion and waste that the Chicago Convention aimed at when it was adopted in 1944. The State of the operator shall establish a system for both the certification and the continued surveillance of the operator in accordance with ICAO SARPs to ensure that the required standards of operations are maintained. Certainly the operator shall meet and maintain the requirements established by the States in which it operate. The authority of a State stops where the authority of another State intervenes or where the former has yielded its power by an international agreement for the sake of international cooperation. Hence, it is not within the realm of the State to issue FAOC towards foreign operators for the reason that these foreign operators are flying in and out of the State. Furthermore, there are other safety audits such as ICAO USOAP, IATA IOSA, FAA IASA, and EU SAFA that assure the safe operation of the aircraft, but within the limit of their power and in compliance with the ICAO SARPs. If the safety level of any operator is not satisfactory, the operator could be banned to operate in the contracting States with watchful eyes until the ICAO SARPs are met. This time-honoured practice has been applied without any serious problems. Besides, we have the new Annex 19 to strengthen and upgrade with easy reference for contracting States. We don't have no reason to introduce additional burden to the States by unilateral actions of some States. These actions have to be corrected. On the other hand, when it comes to the carriage of the Personal or Pilot Log Book, the Korean regulation requiring it is in contrast with other relevant provisions of USA, USOAP, IOSA, and SAFA. The Chicago Convention requires in its Articles 29 and 34 only the carriage of the Journey Log Book and some other certificates, but do not mention the Personal Log Book at all. Paragraph 5.1.1.1 of Annex 1 to the Chicago Convention even makes it clear that the carriage in the aircraft of the Personal Log Book is not required on international flights. The unique Korean regulation in this regards giving the unnecessary burden to the national flag air carriers has to be lifted at once.

• Sijohaknonchong
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• v.23
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• pp.161-188
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• 2005

The purpose of this study was to delve into the morphological types of Sijo in an effort to determine the morphological structure of Sasul-sijo, and it's also attempted to present standard about how to discriminate Pyong-si, Eos-sijo and Sasul-sijo from one another from a morphological standpoint. It's suggested that Si with tee Jangs, six verses and 12 stanzas or more, with three Jangs, seven verses and 14 stanzas or more, and with three Jangs, eight verses and 16 stanzas or more should respectively be called Pyong-sijo, Eos-sijo and Sasul-sijo. After what Sijo was and what's not were discussed, how to distinguish Eos-sijo from Sasul-sijo was described, and finally, the structure of Sasul-sijo was presented. As for Sijo and non-Sijo, the types of works that consisted of tee Jangs, like Sijo, yet didn't suit its framework and Yuljo and were written in Chinese characters were regarded as non-Sijo. Concerning discrimination between Eos-si and Sasul-sijo, the type of Sijo that included one more or higher number of verse(s) and two more or higher number of stanzas in one of three Jangs was defined as Eos-sijo, and the type of Sijo that involved two more or higher number of verses and four more or higher number of stanzas in one of three Jangs was called Sasul-sijo. In other words, Eos-sijo contained one more verse in one of tee Jangs, and Sasul-sijo included one more Jang in one tee Jangs. The sort of Sijo that contained one more Jang in one of three Jangs could be viewed as Sasul-sijo. Regarding the structure of Sasul-si, there should be three Jangs, eight verses and 16 stanzas in one piece of Sasul-sijo. Any type of Sijo that contained two more or higher number of verses and four more or higher number of stanzas could be called Sasul-sijo. Such an addition of verse and stanza could done in various ways. The examples were (1) adding stanzas the first Jang, 2) adding stanzas to the second Jang, (3) adding stanzas to the final Jang, (4) adding stanzas to both the first and Second Jangs, (5) adding stanzas to th the second and final Jangs, and (6) adding stanzas to all the first, second and third Jangs at the same time. Besides, there was an extremely broad gap between the numbers of verse and stanza in Sasul-sijo, which ranged from a low of eight stanzas to a high of 87 ones in one of three Jangs.

• Journal of Food Hygiene and Safety
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• v.21 no.4
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• pp.231-237
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• 2006

Nowadays the teabag is worldwide used for various products including green tea, tea, coffee, etc. since it is convenient for use. In case of outer packaging printed, however, there is a possibility that the plasticizers which is used for improvement in adhesiveness of printing ink may shift to inner tea bag. In this study, in order to monitor residual levels of plasticizers in teabags, we have established the simultaneous analysis method of 9 phthalates and 7 adipates plasticizers using gas chromatography (GC). These compounds were also confirmed using gas chromatography-mass spectrometry (GC-MSD). The recoveries of plasticizers analyzed by GC ranged from 82.7% to 104.6% with coefficient of variation of $0.6\sim2.7%$ and the correlation coefficients of each plasticizer was $0.9991\sim0.9999$. Therefore this simultaneous analysis method was showed excellent reproducibility and linearity. And limit of detection (LOD) and limit of quantitation (LOQ) on individual plasticizer were $0.1\sim3.5\;ppm\;and\;0.3\sim11.5\;ppm$ respectively. When 143 commercial products of teabag were monitored, no plasticizers analysed were detected in filter of teabag products. The migration into $95^{\circ}C$ water as food was also examined and the 16 plasticizers are not detected. In addition we carried out analysis of heavy metals, lead (Pb), cadmium (Cd), arsenic (As) and aluminum (Al) in teabag filters using ICP/AES. $Trace\sim23{\mu}g$ Pb per teabag and $0.6\sim1718{\mu}g$ Al per teabag were detected in materials of samples and Cd and As are detected less than LOQ (0.05 ppm). The migration levels of Pb and Al from teabag filter to $95^{\circ}C$ water were upto $11.5{\mu}g\;and\;20.8{\mu}g$ per teabag, respectively and Cd and As were not detected in exudate water of all samples. Collectively, these results suggest that there is no safety concern from using teabag filter.

• Korean Journal of Heritage: History & Science
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• v.53 no.4
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• pp.2-31
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• 2020

CheomSeongDae (瞻星臺) is a stone structure built in Gyeongju, the former Silla Dynasty capital, during the reign of Queen Seondeok (632~647AD). There exist dozens of hypotheses regarding its original purpose. Depending on to whom you ask, the answer could be a celestial observatory, a religious altar, a Buddhist stupa, a monumental tower symbolizing scientific knowledge, and so on. The most common perception of the structure among lay people is a stargazing tower. Historians, however, have suggested that it was intended as "a gateway to the heavens", specifically the Trāyastriṃśa or the second of the six heavens of Kāmadhātu located on the top of Mountain Sumeru. The name "Cheom-seong-dae" could be interpreted in many different ways. 'Cheom (瞻)' could refer to looking up, staring, or admiring, etc.; 'Seong (星)' could mean a star, heaven, night, etc.; and 'heaven' in that context can be a physical or religious reference. 'Dae (臺)' usually refers to a high platform on which people stand or things are placed. Researchers from the science fields often read 'cheom-seong' as 'looking at stars'; while historians read it as 'admiring the Trāyastriṃśa' or 'adoring Śakra'. Śakra is said to be the ruler of Trāyastriṃśa' who governs the Four Heavenly Kings in the Cāturmahārājika heaven, the first of the six heavens of Kāmadhātu. Śakra is the highest authority of the heavenly kings in direct contact with humankind. This paper examined the usages of 'cheom-seong' in Chinese literature dated prior to the publication of 『Samguk Yusa』, a late 13th century Korean Buddhist historical book that contains the oldest record of the structure among all extant historical texts. I found the oldest usage of cheom-seong (瞻星臺) in 『Ekottara Āgama』, a Buddhist script translated into Chinese in the late 4th century, and was surprised to learn that its meaning was 'looking up at the brightness left by Śakra'. I also found that 'cheom-seong' had been incorporated in various religious contexts, such as Hinduism, Confucianism, Buddhist, Christianism, and Taoism. In Buddhism, there was good, bad, and neutral cheom-seong. Good cheom-seong meant to look up to heaven in the practice of asceticism, reading the heavenly god's intentions, and achieving the mindfulness of Buddhism. Bad cheom-seong included all astrological fortunetelling activities performed outside the boundaries of Buddhism. Neutral cheom-seong is secular. It may help people to understand the nature of the physical world, but was considered to have little meaning unless relating to the spiritual world of Buddhism. Cheom-seong had been performed repetitively in the processes of constructing Buddhist temples in China. According to Buddhist scripts, Queen Māyā of Sakya, the birth mother of Gautama Buddha, died seven days after the birth of Buddha, and was reborn in the Trāyastriṃśa heaven. Buddha, before reaching nirvana, ascended from Jetavana to Trāyastriṃśa and spent three months together with his mother. Gautama Buddha then returned to the human world, stepping upon the stairs built by Viśvakarman, the deity of the creative power in Trāyastriṃśa. In later years, King Asoka built a stupa at the site where Buddha descended. Since then, people have believed that the stairway to the heavens appears at a Buddhist stupa. Carefully examining the paragraphic structure of 『Samguk Yusa』's records on Cheomseongdae, plus other historical records, the fact that the alignment between the tomb of Queen Seondeok and Cheomseongdae perfectly matches the sunrise direction at the winter solstice supports this paper's position that Chemseongdae, built in the early years of Queen SeonDeok's reign (632~647AD), was a gateway to the Trāyastriṃśa heaven, just like the stupa at the Daci Temple (慈恩寺) in China built in 654. The meaning of 'Cheom-seong-dae' thus turns out to be 'adoring Trāyastriṃśa stupa', not 'stargazing platform'.

• Journal of Intelligence and Information Systems
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• v.26 no.4
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• pp.149-171
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• 2020

The period at university is to make decision about getting an actual job. As our society develops rapidly and highly, jobs are diversified, subdivided, and specialized, and students' job preparation period is also getting longer and longer. This study analyzed the log data of college students to see how the various activities that college students experience inside and outside of school might have influences on employment. For this experiment, students' various activities were systematically classified, recorded as an activity data and were divided into six core competencies (Job reinforcement competency, Leadership & teamwork competency, Globalization competency, Organizational commitment competency, Job exploration competency, and Autonomous implementation competency). The effect of the six competency levels on the employment status (employed group, unemployed group) was analyzed. As a result of the analysis, it was confirmed that the difference in level between the employed group and the unemployed group was significant for all of the six competencies, so it was possible to infer that the activities at the school are significant for employment. Next, in order to analyze the impact of the six competencies on the qualitative performance of employment, we had ANOVA analysis after dividing the each competency level into 2 groups (low and high group), and creating 6 groups by the range of first annual salary. Students with high levels of globalization capability, job search capability, and autonomous implementation capability were also found to belong to a higher annual salary group. The theoretical contributions of this study are as follows. First, it connects the competencies that can be extracted from the school experience with the competencies in the Human Resource Management field and adds job search competencies and autonomous implementation competencies which are required for university students to have their own successful career & life. Second, we have conducted this analysis with the competency data measured form actual activity and result data collected from the interview and research. Third, it analyzed not only quantitative performance (employment rate) but also qualitative performance (annual salary level). The practical use of this study is as follows. First, it can be a guide when establishing career development plans for college students. It is necessary to prepare for a job that can express one's strengths based on an analysis of the world of work and job, rather than having a no-strategy, unbalanced, or accumulating excessive specifications competition. Second, the person in charge of experience design for college students, at an organizations such as schools, businesses, local governments, and governments, can refer to the six competencies suggested in this study to for the user-useful experiences design that may motivate more participation. By doing so, one event may bring mutual benefits for both event designers and students. Third, in the era of digital transformation, the government's policy manager who envisions the balanced development of the country can make a policy in the direction of achieving the curiosity and energy of college students together with the balanced development of the country. A lot of manpower is required to start up novel platform services that have not existed before or to digitize existing analog products, services and corporate culture. The activities of current digital-generation-college-students are not only catalysts in all industries, but also for very benefit and necessary for college students by themselves for their own successful career development.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.239-260
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• 2019

This paper examines the circulation and dissemination of painting during and after the nineteenth century through a case study on the One Hundred Fans paintings produced as decorative folding screens at the time. One Hundred Fans paintings refer to depictions of layers of fans in various shapes on which pictures of diverse themes are drawn. Fans and paintings on fans were depicted on paintings before the nineteenth century. However, it was in the nineteenth century that they began to be applied as subject matter for decorative paintings. Reflecting the trend of enjoying extravagant hobbies, fans and paintings on fans were mainly produced as folding screens. The folding screen of One Hundred Fans from the collection of the Museum am Rothenbaum Kulturen und Künste der Welt (hereafter Rothenbaum Museum) in Germany was first introduced to Korean in the exhibition The City in Art, Art in the City held at the National Museum of Korea in 2016. Each panel in this six-panel folding screen features more than five different fans painted with diverse topics. This folding screen is of particular significance since the National Museum of Korea holds the original drawings. In the nineteenth century, calligraphy and painting that had formerly been enjoyed by Joseon royal family members and the nobility in private spaces began to spread among common people and was distributed through markets. In accordance with the trend of adorning households, colorful decorative paintings were preferred, leading to the popularization of the production of One Hundred Fans folding screens with pictures in different shapes and themes. A majority of the Korean collection in the Rothenbaum Museum belonged to Heinrich Constantin Eduard Meyer(1841~1926), a German businessman who served as the Joseon consul general in Germany. From the late 1890s until 1905, Meyer traveled back and forth between Joseon and Germany and collected a wide range of Korean artifacts. After returning to Germany, he sequentially donated his collections, including One Hundred Fans, to the Rothenbaum Museum. Folding screens like One Hundred Fans with their fresh and decorative beauty may have attracted the attention of foreigners living in Joseon. The One Hundred Fans at the Rothenbaum Museum is an intriguing work in that during its treatment, a piece of paper with the inscription of the place name "Donghyeon" was found pasted upside down on the back of the second panel. Donghyeon was situated in between Euljiro 1-ga and Euljiro 2-ga in present-day Seoul. During the Joseon Dynasty, a domestic handicraft industry boomed in the area based on licensed shops and government offices, including the Dohwaseo (Royal Bureau of Painting), Hyeminseo (Royal Bureau of Public Dispensary), and Jangagwon (Royal Bureau of Music). In fact, in the early 1900s, shops selling calligraphy and painting existed in Donghyeon. Thus, it is very likely that the shops where Meyer purchased his collection of calligraphy and painting were located in Donghyeon. The six-panel folding screen One Hundred Fans in the collection of the Rothenbaum Museum is thought to have acquired its present form during a process of restoring Korean artifacts works in the 1980s. The original drawings of One Hundred Fans currently housed in the National Museum of Korea was acquired by the National Folk Museum of Korea between 1945 and 1950. Among the seven drawings of the painting, six indicate the order of their panels in the margins, which relates that the painting was originally an eight-panel folding screen. Each drawing shows more than five different fans. The details of these fans, including small decorations and patterns on the ribs, are realistically depicted. The names of the colors to be applied, including 'red ocher', 'red', 'ink', and 'blue', are written on most of the fans, while some are left empty or 'oil' is indicated on them. Ten fans have sketches of flowers, plants, and insects or historical figures. A comparison between these drawings and the folding screen of One Hundred Fans at the Rothenbaum Museum has revealed that their size and proportion are identical. This shows that the Rothenbaum Museum painting follows the directions set forth in the original drawings. The fans on the folding screen of One Hundred Fans at the Rothenbaum Museum are painted with images on diverse themes, including landscapes, narrative figures, birds and flowers, birds and animals, plants and insects, and fish and crabs. In particular, flowers and butterflies and fish and crabs were popular themes favored by nineteenth century Joseon painters. It is noteworthy that the folding screen One Hundred Fans at the Rothenbaum Museum includes several scenes recalling the typical painting style of Kim Hong-do, unlike other folding screens of One Hundred Fans or Various Paintings and Calligraphy. As a case in point, the theme of "Elegant Gathering in the Western Garden" is depicted in the Rothenbaum folding screen even though it is not commonly included in folding screens of One Hundred Fans or One Hundred Paintings due to spatial limitations. The scene of "Elegant Gathering in the Western Garden" in the Rothenbaum folding screen bears a resemblance to Kim Hong-do's folding screen of Elegant Gathering in the Western Garden at the National Museum of Korea in terms of its composition and style. Moreover, a few scenes on the Rothenbaum folding screen are similar to examples in the Painting Album of Byeongjin Year produced by Kim Hong-do in 1796. The painter who drew the fan paintings on the Rothenbaum folding screen is presumed to have been influenced by Kim Hong-do since the fan paintings of a landscape similar to Sainsam Rock, an Elegant Gathering in the Western Garden, and a Pair of Pheasants are all reminiscent of Kim's style. These paintings in the style of Kim Hong-do are reproduced on the fans left empty in the original drawings. The figure who produced both the original drawings and fan paintings appears to have been a professional painter influenced by Kim Hong-do. He might have appreciated Kim's Painting Album of Byeongjin Year or created duplicates of Painting Album of Byeongjin Year for circulation in the art market. We have so far identified about ten folding screens remaining with the One Hundred Fans. The composition of these folding screens are similar each other except for a slight difference in the number and proportion of the fans or reversed left and right sides of the fans. Such uniform composition can be also found in the paintings of scholar's accoutrements in the nineteenth century. This suggests that the increasing demand for calligraphy and painting in the nineteenth century led to the application of manuals for the mass production of decorative paintings. As the demand for colorful decorative folding screens with intricate designs increased from the nineteenth century, original drawings began to be used as models for producing various paintings. These were fully utilized when making large-scale folding screens with images such as Guo Ziyi's Enjoyment-of-Life Banquet, Banquet of the Queen Mother of the West, One Hundred Children, and the Sun, Cranes and Heavenly Peaches, all of which entailed complicated patterns. In fact, several designs repeatedly emerge in the extant folding screens, suggesting the use of original drawings as models. A tendency toward using original drawings as models for producing folding screens in large quantities in accordance with market demand is reflected in the production of the folding screens of One Hundred Fans filled with fans in different shapes and fan paintings on diverse themes. In the case of the folding screens of One Hundred Paintings, bordering frames are drawn first and then various paintings are executed inside the frames. In folding screens of One Hundred Fans, however, fans in diverse forms were drawn first. Accordingly, it must have been difficult to produce them in bulk. Existing examples are relatively fewer than other folding screens. As discussed above, the folding screen of One Hundred Fans at the Rothenbaum Museum and its original drawings at the National Museum of Korea aptly demonstrate the late Joseon painting trend of embracing and employing new painting styles. Further in-depth research into the Rothenbaum painting is required in that it is a rare example exhibiting the influence of Kim Hong-do compared to other paintings on the theme of One Hundred Fans whose composition and painting style are more similar to those found in the work of Bak Gi-jun.