• Journal of Forest and Environmental Science
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• v.21 no.1
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• pp.34-58
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• 2005

This study was executed to find out how to improve the planting and use of landscaping plants in Weonju and Hoengseong. 1. The number of street trees were 22,068 and the species number were 10 species in Weonju in 2004. The major species of street trees were Ginkgo biloba(58%), Prunus sargentii(15%), Zelkova serrata(9%), Prunus armeniaca var. ansu(8%), and Acer palmatum(6%). The ratio of native species versus exotic were 50:50. In Hoengseong, the number of street trees was 13,500 and the species number were 15 species. The major species of street trees were Prunus sargentii(42%), Ginkgo biloba(23%), Acer triflorum(12%), Prunus armeniaca var. ansu(6%), and Prunus mume(4%). The ratio of native species versus exotic were 67:33. The species of which planting frequency within two areas was very high were Ginkgo biloba and Prunus sargentii. 2. It is necessary to select tree species suitable for the characteristics of the locality and to raise distinctive street trees that contribute to the tourist industry. For the purpose, the appropriate street trees in two areas are Cornus controversa, Quercus aliena, Zelkova serrata, Prunus padus, Sorbus alnifolia, Sorbus comixta, Albizzia julibrissin, Acer triflorum, Styrax japonica, Chionanthus retusus, Celtis sinensis, Prunus yedoensis, Malus sieboldii, Crataegus Pinnatifida, Prunus armeniaca var. ansu and Pyrus pyrifolia etc.. 3. Appropriate pruning adds to the aesthetic and prolongs the useful life, it also requires less managing of insects and diseases to maintain good healthy of street trees. Street trees were not properly pruned due to electric lines and shortage of pruning information. The pruning was controlled by Korea Electric Power Co, which has no pruning information. Pruning must be maintained by a professional landscape company to maintain good shape such as with Bonsai. The shrubs planting zone between street trees and other trees, and preservation plates were established for healthy of street trees. They have to be repaired and maintained well to keep better environmental conditions. The proper fertilization, the control of pests and diseases, the installation of drainpipe and the use of soil brought from another place were needed to improve the planting, use and maintenance of landscape plants. 4. The species number of school trees and flowers of 102 schools in Weonju and Hoengseong were 17species, 16species respectively. The major species of school trees in Weonju were Juniperus chinensis(24%), Ginkgo biloba(17%), Pinus densiflora(14%), Zelkova serrata(14%), and Pinus koraiensis(9%), and those of school trees in Hoengseong were Pinus koraiensis(44%), Abies holophylla(25%), Juniperus chinensis(8%), and Ginkgo biloba(8%). The major species of school flowers in Weonju were Rosa centifolia(47%), Forsythia koreana(24%), Magnolia kobus(12%), and Rhododendron schlippenbachii(6%), and those of school flowers in Hoengseong were Forsythia koreana(36%), Rhododendron schlippenbachii(33%), Magnolia kobus(6%) and Dicentra spectabilis(6%). 5. The species number of the protection trees designated by Woenju and Hoengseong were 15 species. The major species of protection trees were Zelkova serrata(100 trees), Ginkgo biloba(18) Pinus densiflora(7), Quercus spp. (5), Juniperus chinensis(4) and Alnus japonica(4). 6. The landscape plants planted around 2004 in weonju were Prunus yedoensis(2,563 trees), Betula platyphylla var. japonica(2,000), Abies holophylla(1,785), Diospyros kaki(1,100), Prunus sargentii(880) and Prunus armeniaca var. ansu(708) etc.. The shrubs planted were Rhododendron obutusum(21,559 plants), Rosa centifolia (7,150), Rhododendron yedoense var. poukhanense(5,950), Forsythia koreana(3,000) and Ligustrum obtusi[olium(2,500) etc.. The landscape plants planted in Hoengseong Acer triflorum(928trees), Prunus yedoensis(455), Zelkova serrata(327), Thuja orientalis(261), Prunus sargentii(257), Pinus koraiensis(200), Prunus persica for. rubro-plena(200) and Pyrus pyrifolia (200) etc.. The shrubs planted were Rhododendron yedoense var. poukhanense(15,936), Syringa dilatata(10,090), Forsythia koreana(9,660), Cercis chinensis(3,200), Buxus microphylla var. koreana(2,600) and Rosa centifolia(1,868) etc.. 7. The species numbers of the herbaceous plants planted in 2004 in Weonju were 24 species and the ratio of native species versus exotic were 7:17. The major species of perennial plants were Aster koraiensis(30,656 plants), Coreopsis drummondii(7,656), Rudbeckia bicolor(6,000), Chrysanthemum morifolium(4,850) and Chrysanthemum zawadskii var. latilobum(4,312). The major species of annuals and biennials were Cosmos bipinnatus(672,000 plants), Zinnia elegans(35,600), Petunia hybrida(26,920), Viola tricolor(23,000), Helianthus annuus(17,000), and Geranium cinereum var. pubcaulescens(5,200). In Hoengseong, the numbers of herbaceous plants were 906,310 plants and the species numbers were 15 species. The major species of perennials plants were Aster koraiensis(70,480 plants), Hemerocallis fulva(20,070), and Phlox drummondii(18,000). The major species of annuals and biennials were Phlox hybrida(174,000 plants), Cosmos bipinnatus(125,000), Zinnia elegans(109,000), Tagetes patula(96,700), Vinca rosea(89,000) and Calendula officinalis(70,000). 8. Through these result, it was thought that the diversification of planting species, the selection of plants suitable to each space and the generalization of use of native species were needed.

• Restorative Dentistry and Endodontics
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• v.32 no.3
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• pp.248-259
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• 2007

The aim of this research was to study the effect of intermittent polymerization on marginal adaptation by comparing the marginal adaptation of intermittently polymerized composite to that of continuously polymerized composite. The materials used for this study were Pyramid (Bisco Inc., Schaumburg, U.S.A.) and Heliomolar (Ivoclar Vivadent, Liechtenstein) . The experiment was carried out in class II MOD cavities prepared in 48 extracted human maxillary premolars. The samples were divided into 4 groups by light curing method: group 1- continuous curing (60s light on with no light off), group 2-intermittent curing (cycles of 3s with 2s light on & 1s light off for 90s); group 3- intermittent curing (cycles of 2s with 1s light on & 1s light off for 120s); group 4- intermittent curing (cycles of 3s with 1s light on & 2s light off for 180s). Consequently the total amount of light energy radiated was same in all the groups. Each specimen went through thermo-mechanical loading (TML) which consisted of mechanical loading (720,000 cycles, 5.0 kg) with a speed of 120 rpm for 100hours and thermocycling (6000 thermocycles of alternating water of $50^{\circ}C$ and $55^{\circ}C$). The continuous margin (CM) (%) of the total margin and regional margins, occlusal enamel (OE), vertical enamel (VE), and cervical enamel (CE) was measured before and after TML under a $\times200$ digital light microscope. Three-way ANOVA and Duncan's Multiple Range Test was performed at 95% level of confidence to test the effect of 3 variables on CM (%) of the total margin: light curing conditions, composite materials and effect of TML. In each group, One-way ANOVA and Duncan's Multiple Range Test was additionally performed to compare CM (%) of regions (OE, VE CE). The results indicated that all the three variables were statistically significant (p < 0.05). Before TML, in groups using Pyramid, groups 3 and 4 showed higher CM (%) than groups 1 and 2, and in groups using Heliomolar. groups 3 and 4 showed higher CM (%) than group 1 (p < 0.05). After TML, in both Pyramid and Heliomo)ar groups, group 3 showed higher CM (%) than group 1 (p < 0.05) CM (%) of the regions are significantly different in each group (p < 0.05). Before TML, no statistical difference was found between groups within the VE and CE region. In the OE region, group 4 of Pyramid showed higher CM (%) than group 2, and groups 2 and 4 of Heliomolar showed higher CM (%) than group 1 (p < 0.05). After TML, no statistical difference was found among groups within the VE and CE region. In the OE region, group 3 of Pyramid showed higher CM (%) than groups 1 and 2, and groups 2,3 and 4 of Heliomolar showed higher CM (%) than group 1 (p < 0.05). It was concluded that intermittent polymerization may be effective in reducing marginal gap formation.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.3
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• pp.72-84
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• 2010

This study was attempted in order to offer basic data for implementing and applying Samjonseokjo(三尊石造), which is one of traditional stone construction method, by confirming how the constructive principle is expressed such as proportional beauty, which is contained in the modeling of Triad of Buddha Carved on Rock that was formed in the period of the Three States, centering on Triad of Buddha Carved on Rock in Susan. The summarized findings are as follows. 1. As a result of analyzing size and proportion of totally 17 of Triad of Buddha Carved on Rock, the average total height in Bonjonbul(本尊佛) was 2.96m. Right Hyeopsi(右挾侍) was 2.19m. Left Hyeopsi(左挾侍) was 2.16m. The height ratio according to this was 100:75:75, thereby having shown the relationship of left-right symmetrical balance. The area ratio in left-right Hyeopsi was 13.4:13.7, thereby the two area having been evenly matched. 2. The Triad of Buddha Carved on Rock in Seosan is carved on Inam(印岩) rock after crossing over Sambulgyo bridge of the Yonghyeon valley. Left direction was measured with $S47^{\circ}E$ in an angle of direction. This is judged to target an image change and an aesthetic sense in a Buddhist statue according to direction of sunlight while blocking worshipers' dazzling. 3. As for iconic characteristics of Buddha Carved on Rock in Seosan, there is even Hyeopsi in Bangasang(半跏像) and Bongjiboju(捧持寶珠) type Bosangipsang. In the face of Samjon composition in left-right asymmetry, the unification is indicated while the same line and shape are repeated. Thus, the stably visual balance is being shown. 4. In case of Triad of Buddha Carved on Rock in Seosan, total height in Bonjonbul, left Hyeopsi, and right Hyeopsi was 2.80m, 1.66m, and 1.70m, respectively. Height ratio in left-right Hyeopsibul was 0.60:0.62, thereby having been almost equal. On the other hand, the area ratio was 28.8:25.2, thereby having shown bigger difference. The area ratio on a plane was grasped to come closer to Samjae aesthetic proportion. 5. The axial angle of centering on Gwangbae was 84:46:50, thereby having been close to right angle. On the other hand, the axial angle ratio of centering on Yeonhwajwa(蓮華坐: lotus position) was measured to be 135:25:20, thereby having shown the form of inequilateral triangle close to obtuse angle. Accordingly, the upper part and the lower part of Triad of Buddha Carved on Rock in Susan are taking the stably proportional sense in the middle of maintaining the corresponding relationship through angular proportion of inequilateral triangle in right angle and obtuse angle. 6. The distance ratio in the upper half was 0.51:0.36:0.38. On the other hand, the distance ratio in the lower half was 0.53 : 0.33 : 0.27. Thus, the up-down and left-right symmetrical balance is being formed while showing the image closer to inequilateral triangle. 7. As a result of examining relationship of Samjae-mi(三才美) targeting Triad of Buddha Carved on Rock in Susan, the angular ratio was shown to be more notable that forms the area ratio or triangular form rather than length ratio. The inequilateral triangle, which is formed centering on Gwangbae(光背) in the upper part and Yeonhwajwa(lotus position) in the lower part, is becoming very importantly internal motive of doubling the constructive beauty among Samjae, no less than the mutually height and area ratio in Samjonbul.

• Journal of Sericultural and Entomological Science
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• v.52 no.2
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• pp.110-116
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• 2014

Recently the number of the butterflies, Mellicta ambigua, had been decreasing rapidly, and already disappeared at many habitat. In this studies, we investigated ecological environment of Mellicta ambigua for preparing of primary research data recovering habitat, and studied on bionomical characteristics. Two different habitat, Jindo and Inje, were selected for investigation of ecological environment. We investigated four times during 3-month, from June to August in 2012. In Jindo, we observed more than 100 butterflies and a lot of host plants, Melampyrum roseum var. japonicum. But only 5 butterflies and only a few host plants, Veronicastrum sibiricum were observed in Inje. We could not observe the eggs, the larva and pupa on the host plants at all. For finding of bionomical characteritics, we reared butterflies at natural conditions. Collected 3-female butterflies from Jindo laid 465 eggs on the leaves of 3-host plants, Veronicastrum sibiricum. 120 ~ 186 eggs per each female were laid in the shape of cluster. An egg was globular shape, 0.6 mm diameter and 0.7 mm height. The egg periods were $9.96{\pm}0.4days$ after ovipositioning, and the hatchability was 95.% at natural condition. The larval periods were $4.1{\pm}0.6days$ (1st instar), $2.1{\pm}1.0days$ (2nd), $8.1{\pm}0.7days$ (3rd), $239.2{\pm}10.9days$ (4th), $12.3{\pm}1.3days$ (5th), $17.1{\pm}1.1days$ (6th), $10.5{\pm}1.0days$ (7th) each other. The larva of 4th instar overwintered in the nest that had been made into the leaf of host plant with secreted thread as a group until early March next year. In the early March next year, overwintered larva went around their nest in search of host plants, and went to other host plants, Veronica persica and Plantago asiatica, sometimes. The overwintered larva of Mellicta ambigua could grow up on two other host plants normally. In the following experiment, the butterflies of Mellicta ambigua laid eggs on the leaves of Plantago asiatica, but the 1st instar larva from eggs died all. The headwidth of each developmental larval stage were $0.28{\pm}0.02mm$ (1st), $0.45{\pm}0.02mm$ (2nd), $0.58{\pm}0.02mm$ (3rd), $0.75{\pm}0.03mm$ (4th), $0.89{\pm}0.05mm$ (5th), $1.23{\pm}0.06mm$ (6th), $2.13{\pm}0.11mm$ (7th). The pupal ratio was 92.0%. The pupal period were $9.1{\pm}1.6days$, and the emergence rate was 88.6%. As a result we determined that Mellicta ambigua can rear at natural conditions. But indoor-rearing is considered to be difficult and not useful industrially, because they have long term larval stage and only one life cycle per an year.

• (The) Research of the performance art and culture
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• no.18
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• pp.513-557
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• 2009

The procession depicted in Goguryeo's ancient tomb mural consists of guards, honor guards, music band, and performing artists. Since this coincides with the royal processions of Goryeo and Joseon Dynasties, the relationship of its impact can be examined. The performing arts appearing in such street procession were mostly sanakbaekhui. During the Goryeo Dynasty, the king visited Bongeunsa templ when the lotus lantern festival was celebrated. At such time, on the left and right sides of the road travelled by the king were installed mountains made of lanterns and trees made of lanterns. The procession was quite large in scale and was accompanied by colorful music and performances. In the narye ceremony of the Goryeo Dynasty, as in China, street procession and performing arts took place. The jisinbarbgi performed by a peasant band in early January is a custom of narye. A new character appears in the royal narye during the first half of the Joseon period. Therefore the features of narye transforming according to the changes of the times can be examined. In the Joseon Dynasty's procession of a king returning to the palace, the royal band in front and behind the carriage of the king played marching music, and led by a sanbung this street procession headed toward the palace. Various performances also took place during this time. The samilyuga and munhuiyeon were festivals of the yangban class(nobility). Those who passed the state examination hired musicians and performers and paraded around town in Seoul for three days to celebrate the auspicious outcome for their family and to show off their family's power. In the Joseon's dongje and eupchijeui ceremonies, street processions were carried out with a shrine deity image or symbolic flag at the head. The dongje in a Korean village, combined with jisinbarbgi, incorporated a procession with the flags ymbolizing the guardian deity of the village at the head, and this went from house to house. The procession of suyeongyaru had the publicity impact of a mask play performance, and by creating a sense of unity among the participants, heightened the celebratory atmosphere. At the core of the bukcheonggun toseongri gwanweonnori was as treet procession imitating the traveling of high government officials. The toseong gwanweonnori has the folk religion function of praying for safe human living and abundance of grains for the village, the entertainment function of having fun and joy through street processions and various performances, and the social function of creating unity and harmony among the residents. In all the aforementioned events, the street procession had a large role in creating a celebratory atmosphere, and the performance of traditional performing arts in the middle of the procession or after the procession enabled the participants to feel united. The participants of the street procession felt cultural pride and self-confidence through the various events and they were able to have the opportunity to show off and proudly display their abilities.

• Korean Journal of Heritage: History & Science
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• v.51 no.4
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• pp.4-23
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• 2018

Seo Byeong-o (徐丙五, 1862-1936) played a central role in the formation of the Daegu artistic community-which advocated artistic styles combining poetry, calligraphy and painting-during the Japanese colonial period, when the introduction of the Western concept of 'art' led to the adoption of Japanese and Western styles of painting in Korea. Seo first entered the world of calligraphy and painting after meeting Lee Ha-eung (李昰應, 1820-1898) in 1879, but his career as a scholar-artist only began in earnest after Korea was annexed by Japan in 1910. Seo's oeuvre can be broadly divided into three periods. In his initial period of learning, from 1879 to 1897, his artistic activity was largely confined to copying works from Chinese painting albums and painting works in the "Four Gentlemen" genre, influenced by the work of Lee Ha-eung, in his spare time. This may have been because Seo's principal aim at this time was to further his career as a government official. His subsequent period of development, which lasted from 1898 until 1920, saw him play a leading social role in such areas as the patriotic enlightenment movement until 1910, after which he reoriented his life to become a scholar-artist. During this period, Seo explored new styles based on the orchid paintings of Min Yeong-ik (閔泳翊, 1860-1914), whom he met during his second trip to Shanghai, and on the bamboo paintings of Chinese artist Pu Hua (蒲華, 1830-1911). At the same time, he painted in various genres including landscapes, flowers, and gimyeong jeolji (器皿折枝; still life with vessels and flowers). In his final mature period, from 1921 to 1936, Seo divided his time between Daegu and Seoul, becoming a highly active calligrapher and painter in Korea's modern art community. By this time his unique personal style, characterized by broad brush strokes and the use of abundant ink in orchid and bamboo paintings, was fully formed. Records on, and extant works from, Seo's early period are particularly rare, thus confining knowledge of his artistic activities and painting style largely to the realm of speculation. In this respect, eleven recently revealed nanjukseok (蘭竹石圖; orchid, bamboo and rock) paintings, produced by Seo in 1889, provide important clues about the origins and standards of his early-period painting style. This study uses a comparative analysis to confirm that Seo's orchid paintings show the influence of the early gunran (群蘭圖; orchid) and seongnan (石蘭圖; rock and orchid) paintings produced by Lee Ha-eung before his arrest by Qing troops in July 1882. Seo's bamboo paintings appear to show both that he adopted the style of Zheng Xie (鄭燮, 1693-1765) of the Yangzhou School (揚州畵派), a style widely known in Seoul from the late eighteenth century onward, and of Heo Ryeon (許鍊, 1809-1892), a student of Joseon artist Kim Jeong-hui (金正喜,1786-1856), and that he attempted to apply a modified version of Lee Ha-eung's seongnan painting technique. It was not possible to find other works by Seo evincing a direct relationship with the curious rocks depicted in his 1889 paintings, but I contend that they show the influence of both the late-nineteenth-century-Qing rock painter Zhou Tang (周棠, 1806-1876) and the curious rock paintings of the middle-class Joseon artist Jeong Hak-gyo (丁學敎, 1832-1914). In conclusion, this study asserts that, for his 1889 nanjukseok paintings, Seo Byeong-o adopted the styles of contemporary painters such as Heo Ryeon and Jeong Hak-gyo, whom he met during his early period at the Unhyeongung through his connection with its occupant, Lee Ha-eung, and those of artists such as Zheng Xie and Zhou Tang, whose works he was able to directly observe in Korea.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.39 no.2
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• pp.15-28
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• 2021

'Cheonunjeongsa (天雲精舍)', designated as Gyeongsangbukdo Folklore Cultural Property No. 76, is a Siksanjeongsa built in 1700 by Manbu Lee Shiksan. In this study, we investigate the life and perspective of Manbu Lee in relation to Siksanjeongsa, and estimate the feng shui location, territoriality, and original landscape by analyzing 「Nuhangnok」 and 「Nuhando」, the results of his political management. The following results were derived by examining the philosophy that the scholar wanted to include in his space. First, Manbu Lee Shiksan was a representative hermit-type confucian scholar in the late Joseon Dynasty. 'Siksan', the name of the government official and the nickname of Manbu Lee, is derived from the mountain behind the village, and he wanted to rest in the four areas of thought(思), body(躬), speech(言), and friendship(交). During the difficult years of King Sukjong, Lee Manbu of a Namin family expressed his will to seclude through the title 'Siksan'. Second, There is a high possibility of restoration close to the original. Manbu Lee recorded the location of Siksanjeongsa, spatial structure, buildings and landscape facilities, trees, surrounding landscape, and usage behaviors in 「Nuhangnok」, and left a book of 《Nuhangdo》. Third, Manbu Lee refers to the feng shui geography view that Oenogok is closed in two when viewed from the outside, but is cozy and deep and can be seen from a far when entering inside. The whole village of Nogok was called Siksanjeongsa, which means through the name. It can be seen that the area was formed and expanded. Fourth, the spatial composition of Siksanjeongsa can be divided into a banquet space, an education space, a support space, a rest space, a vegetable and an herbal garden. The banquet space composed of Dang, Lu, and Yeonji is a personal space where Manbu Lee, who thinks about the unity of the heavenly people, the virtue of the gentleman, and humanity, is a place for lectures and a place to live. Fifth, Yangjeongjae area is an educational space, and Yangjeongjae is a name taken from the main character Monggwa, and it is a name that prayed for young students to grow brightly and academically. Sixth, the support space composed of Ganjijeong, Gobandae, and Sehandan is a place where the forested areas in the innermost part of Siksanjeongsa are cleared and a small pavilion is built using natural standing stones and pine trees as a folding screen. The virtue and grace of stopping. It contains the meaning of leisure and the wisdom of a gentleman. Seventh, outside the wall of Siksanjeongsa, across the eastern stream, an altar was built in a place with many old trees, called Yeonggwisa, and a place of rest was made by piling up an oddly shaped stone and planting flowers. Eighth, Manbu Lee, who knew the effects of vegetables and medicinal herbs in detail like the scholars of the Joseon Dynasty, cultivated a vegetable garden and an herbal garden in Jeongsa. Ninth, it can be seen that Lee Manbu realized the Neo-Confucian utopia in his political life by giving meaning to each space of Siksanjeongsa by naming buildings and landscaping facilities and planting them according to ancient events.

• Economic and Environmental Geology
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• v.55 no.4
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• pp.377-388
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• 2022

Laboratory-scale experiments were performed to identify the As removal mechanism of the residual slag generated after the mineral carbonation process. The residual slags were manufactured from the steelmaking slag (blast oxygen furnace slag: BOF) through direct and indirect carbonation process. RDBOF (residual BOF after the direct carbonation) and RIBOF (residual BOF after the indirect carbonation) showed different physicochemical-structural characteristics compared with raw BOF such as chemical-mineralogical properties, the pH level of leachate and forming micropores on the surface of the slag. In batch experiment, 0.1 g of residual slag was added to 10 mL of As-solution (initial concentration: 203.6 mg/L) titrated at various pH levels. The RDBOF showed 99.3% of As removal efficiency at initial pH 1, while it sharply decreased with the increase of initial pH. As the initial pH of solution decreased, the dissolution of carbonate minerals covering the surface was accelerated, increasing the exposed area of Fe-oxide and promoting the adsorption of As-oxyanions on the RDBOF surface. Whereas, the As removal efficiency of RIBOF increased with the increase of initial pH levels, and it reached up to 70% at initial pH 10. Considering the PZC (point of zero charge) of the RIBOF (pH 4.5), it was hardly expected that the electrical adsorption of As-oxyanion on surface of the RIBOF at initial pH of 4-10. Nevertheless it was observed that As-oxyanion was linked to the Fe-oxide on the RIBOF surface by the cation bridge effect of divalent cations such as Ca²⁺, Mn²⁺, and Fe²⁺. The surface of RIBOF became stronger negatively charged, the cation bridge effect was more strictly enforced, and more As can be fixed on the RIBOF surface. However, the Ca-products start to precipitate on the surface at pH 10-11 or higher and they even prevent the surface adsorption of As-oxyanion by Fe-oxide. The TCLP test was performed to evaluate the stability of As fixed on the surface of the residual slag after the batch experiment. Results supported that RDBOF and RIBOF firmly fixed As over the wide pH levels, by considering their As desorption rate of less than 2%. From the results of this study, it was proved that both residual slags can be used as an eco-friendly and low-cost As remover with high As removal efficiency and high stability and they also overcome the pH increase in solution, which is the disadvantage of existing steelmaking slag as an As remover.

• KOREAN JOURNAL OF CROP SCIENCE
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• v.28 no.2
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• pp.216-226
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• 1983

Genetic studies on the $F_2$ generation of a set of half diallel crosses involving six cowpea varieties were conducted. by the randomized block design with three replications to determine combining ability, gene action and the relationships between parents and their $F_2$ hybrids. The 12 agronomic characters namely, days to flowering, days from flowering to maturity, days to maturity, diameter of stem, length of internode, number of branches per plant, length of pod, number of pods per plant, number of grains per pod, number of grains per plant, 100 grain weight and grain weight per plot were observed, and the $F_2$ generation of this diallel set of crosses was analysed for each character according to the method by Jinks and Hayman. The results obtained are summarized as follows: 1. Vr-Wr graphical analyses; The following seven characters, days to flowering, number of branches per plant, length of pod, number of pods per plant, number of grains per plant, 100 grain weight and grain weight per plot appeared to be partially dominant, and over dominance was found for days from flowering to maturity, days to maturity, length of internode and number of grains per pod. But diameter of stem indicated partial dominance near complete dominance. 2. Estimates of genetic variance components; In the degree of dominance,. eight characters, that is, days to flowering, days from flowering to maturity, days to maturity, length of internode, number of pods per plant, number of grains per pod, number of grains per plant and grain weight per plot were expressed larger than 1. And the characters, days from flowering to maturity, number of branches per plant and number of grains per plant as the degree of mean dominance ($H_1$/D) were found to be negative value over other characters. On the other hand, apprent asymmetry of dominance-recessive allele ($H_2$ /$4H_1$) produced comparatively estimates with lower value on days from flowering to maturity, length of internode, number of branches per plant and number of grains per pod. 3. Analyses of combining ability; Mean square value of GCA(general combining ability) appeared to be more important than those of SCA (specific combining ability) for most characters, and among them, grain weight per plot showed the highest mean square value in GCA and SCA. 4. Effect of combining ability; Variety 178 was expressed as the highest GCA effects in five characters (days to flowering days to maturity, number of pods per plant, number of grains per plant and grain weight per plot). SCA effects were differed from parents, characters and crosses, but crosses between TVu 1857 $\times$ TVu 2885 and TVu 2702 $\times$ J78 were shown to be highly with SCA effects on yield.

• (The) Research of the performance art and culture
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• no.38
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• pp.349-383
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• 2019

This discussion is focused on Donghaeanbyulsingut's 'gutchum-pan to pray'. 'Gutchum-pan to pray' is repeated in almost all of the geori in Byulsingut, so it is a crucial chum-pan that can never be disregarded in understanding Byulsingutchum. Meanwhile, it supposes that Donghaeanbyulsingut is grounded on the activity of producing 'praying (words) and dance (motions)' within its relationship with the structure of capitalistic society along with the context of traditional rituals. The motion that is newly generated as a response to the concrete expression of 'praying' conducted by a mudang (a shaman), that is, the expression coming from the inside associated with the praying is seen as gutchum. This dance is bound to be in competition and interest among shaman groups, and they tend to influence one another. If praying leads to dance, a mudang can gain profits from capital as well as the value of labor. When the mudang succeeds in forming a bigger bond of sympathy with her praying, the object of praying gets more eager to select byulbi and dances a heoteunchum (impromptu dance) more vigorously. This means that a mudang's ability to perform a ritual is associated with the object of praying's consumption. With his impromptu motions, the object of praying comes to go into 'the field of consumption' within the structure of capitalistic competition before he is aware of it. Behind the communication that praying leads to dance, a lot of things are associated with one another organically. 'Gutchum-pan to pray' is generated by the continuous movement of diversity and unity that the time has within the ritual of the mudang and the object of praying. It continues to create the future 'self' that is different from the present 'self', and it means that he expects variability from the present 'self' through 'gutchum-pan to pray'. The mudang also prays for him arranging the variability of the other (the object of praying) inside her labor. In a big picture, of course, the mudang expects the variability of herself, too, which is connected to the value of her labor. The variability that they expect forms a crucial axis that determines where the flow of time and space that the 'gutchum-pan to pray' has is directed to. The contents of praying are directly related with the villagers' lives, and what leads to dance is mostly related with their jobs. This implies that what the mudang experiences in her everyday consuming activity is directly associated with the villagers' activity for earning money. In other words, the contents of that praying change constantly according to the flow of capitalistic economy. Also, those striving to respond to it before anyone else also expect better life for them by substituting their self to the 'gutchum-pan to pray' eagerly. If so, who are the ones that generate 'gutchum-pan to pray'? This can be understood through relationship among mudangs, relationship between the mudang and villagers, and also relationship among villagers. Their relationships can never be free from the concepts like labor in capitalistic society, consumption and expenditure, or time; therefore, they come to compete with the other, the present self, or the better self within the diverse relationships. This gets to be expressed in any ways, words or motions. And the range that covers the creation of either group or individual 'gutchum-pan to pray' in the village is the village community. Outside the range, it is upsized to the competition of the village unit, so individual praying may become diminished more easily. Although mudangs pray in each geori, it does not mean all praying leads to dance. Within various relationships between mudangs and villagers, 'gutchum-pan to pray' comes to be generated, repeated, and extinct. As it is mitigated to more positive competition, it does not lead to gutchum any longer. In other words, repeating 'gutchum-pan to pray' previously created has turned the object of praying into the state different from the former. Also, the two groups both have experienced the last step of Byulsingut, and at that point, praying does no longer lead to dance. In other words, from the position of the shaman group, it is the finish of their labor time and ritual performance, and from the perspective of the villagers, it means the finish of consuming activity and participation in a ritual. The characteristics of 'gutchum-pan to pray' can be summarized as follows. First, it goes through the following process: competition in the village group → competition in the group → competition among individuals. Second, repeated praying does not lead to 'gutchum'. Third, in the cases of praying for each of the occupation groups, the mudang can induce a bond of sympathy from the objects of praying directly, and this lead to dance. Fourth, the group that fails in being included in the category of praying gets to be alienated from 'gutchum-pan to pray' repeatedly.