• KOREAN JOURNAL OF CROP SCIENCE
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• v.29 no.1
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• pp.76-83
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• 1984

This experiment was performed to investigate the flowering habit of sesame (Sesamum indicum L.). Sesame varieties tested could be classified into 8 different plant types by their morphological traits such as capsule shape, capsule setting habit and branching types among sesame gene pool of Crop Experiment Station, ORD. The first flower was appeared at the lowest node on main stem. Flowers were appeared progressively toward the tip of the main stem and also toward the tips of branches. The interval of flowering for a node was about one day, but 3 to 8 days for the flowers on the tips. Side flowers started at 4 to 5 nodes lower than those of center flower at the same day. Flowers were beared 2 by 1 node on the middle part of flower setting node (7-9) in mono capsule setting habit in spite of its normal is 1 by 1 node on the other nodes. Flowers were beared opposite direction on each node of stem and flowering toward the tip of main stem composed of cross shape between nodes and spiral, reverse of clockwise direction. We called this habit as cross spiral flowering order and cross spiral phyllotaxis. The first flower on branches was appeared when center flower on the 5th node of main stem began to flower. The branches produced at higher nodes on main stem showed larger flowering periods and more number of flowers than that at lower parts. BTB (Branch, Tricapsule, Bicarpels, 4 Loculi) type showed three capsule setting habits and same flowering period both on main stem and branches while BTQ (Branch, Tricapsule, Quadricarpels, 8 Loculi) type showed three capsule setting habit on main stem and mono-capsule setting habit on branches. In BTQ type, the period of flowering was much shorter on branches than on main stem. Branching type was considered more promising than non branching type for the breeding of early maturing high yielding variety because branching type has the advantage of bearing a lot of flowers in comparatively short flowering period.

• Korean Journal of Ecology and Environment
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• v.55 no.3
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• pp.185-200
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• 2022

The risk of various hazardous substances in aquatic environment comprises not only the concentration of substances in the environmental medium but also their accumulation in fish through complex food web and the health risks to humans through the fish. In Korea, the monitoring of residual toxicant in aquatic ecosystems began in 2016 following the enforcement of the Acts on registration and evaluation for the management of chemicals used in daily life (consumer chemical products), and attention has been paid to potentially hazardous substances attributed to them. Recently, studies have been carried out to investigate the distribution of these hazardous substances in the ecosystem and calculate their emission factors. These include the accumulation and transport of substances, such as detergents, dyes, fragrances, cosmetics, and disinfectants, within trophic levels. This study summarizes the results of recently published research on the inflow and distribution of hazardous substances from consumer chemical products to the aquatic environment and presents the scientific implication. Based on studies on aquatic environment monitoring techniques, this study suggests research directions for monitoring the residual concentration and distribution of harmful chemical substances in aquatic ecosystems. In particular, this study introduces the directions for research on trophic position analysis using compound specific isotope analysis and trophic magnification factors, which are needed to fulfill the contemporary requirements of selecting target fish based on the survey of major fish that inhabit domestic waters and assessment of associated health risk. In addition, this study provides suggestions for future biota monitoring and chemical research in Korea.

• Pediatric Infection and Vaccine
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• v.29 no.3
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• pp.131-140
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• 2022

Purpose: Since the coronavirus disease 2019 (COVID-19) pandemic began, new variants of severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2) have emerged, and distinct epidemic waves of COVID-19 have occurred for an extended period. This study aimed to analyze the clinical and epidemiological characteristics of children with COVID-19 from the third wave to the middle of the fourth epidemic wave in Korea. Methods: We retrospectively reviewed the medical records of hospitalized patients aged ≤18 years with laboratory-confirmed COVID-19. The study periods were divided into the third wave (from November 13, 2020 to July 6, 2021) and the fourth wave (from July 7 to October 31, 2021). Results: Ninety-three patients were included in the analysis (33 in the third and 60 in the fourth waves). Compared with the third wave, the median age of patients was significantly older during the fourth wave (6.7 vs. 2.8 years, P=0.014). Household contacts was reported in 60.2% of total patients, similar in both periods (69.7 vs. 55.0%, P=0.190). Eighty-one (87.1%) had symptomatic SARS-CoV-2 infection. Among these, 10 (12.3%) had no respiratory symptoms. Anosmia or ageusia were more commonly observed in the fourth epidemic wave (10.7 vs. 34.0%, P=0.032). Most respiratory illness were upper respiratory tract infections (94.4%, 67/71), 4 had pneumonia. The median cycle threshold values (detection threshold, 40) for RNA-dependent RNA polymerase (RdRp) and envelope (E) genes of SARS-CoV-2 were 21.3 and 19.3, respectively. There was no significant difference in viral load during 2 epidemic waves. Conclusions: There were different characteristics during the two epidemic waves of COVID-19.

• Journal of the Daesoon Academy of Sciences
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• v.44
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• pp.141-175
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• 2023

This comparative study combines the methodologies of comparative research and literature review to examine Daesoon Thought. Comparative religious analysis in the social sciences, does not presuppose an a priori framework of the essence of religion because it targets various aspects of religion which are revealed within a historical field. However, it does not decompose and return to psychological or social phenomena like social sciences. In addition, with the emergence of religious pluralism, the climate of focusing on similarities between religions has already been accomplished to some degree. Furthermore, it is worth noting that many spiritual movements in modern spirituality reveal mixed or amorphous characteristics without being restricted by specific religious membership. It is time to overcome instrumentation and restore the transcendence of its original appearance even in secular humanist reasoning. It can be said that this reveals the perception that the ills and crises of modern civilization should be overcome in connection with the opening of the acquired world of Daesoon Thought. It could further be said that the main culprit of evil behavior is instrumental reason or degenerated reason rather than spirituality. Religion is the intellectual crystalline body of humankind and aims at human perfection and salvation. However, extremists in previous times amplified conflicts between religions and formed ideas suitable for their specific regions through different experiences. This generated mental rifts that proved greatly influential. At the time of initial inception, each religion confronted and fought other ideologies, but when the era of religious pluralism began, the necessity for inter-spiritual communication became urgent. It could be said that happiness is the realization of human spirituality by exploring the vision of humanism. In that case, the combined methodologies of comparative research and literature review reveal that the spirituality of Daesoon Thought would enable a humanism based on human dignity. This would be a path for seeking spirituality through human life and living as a true human being. Spiritual humanism as discussed through this study aims to share the problems of modern civilization and provide a critical view of modern civilization that shows the roots of prevailing thought are stuck in a Cartesian dualistic view of humanity and the world. The type of spiritual humanism to examined here focuses on a cosmotheandric vision by considering the spiritual return to Daoism via Daesoon Thought. This would treat human beings like heaven in alignment with Donghak ideology and honor the human dignity proposed by Daesoon Thought. It would also deliver sentient beings from suffering and to bliss in accordance with the aims of faith in Maitreya Buddha, and it would implement the Resolution of Grievances for Mutual Beneficence in fulfillment of Daesoon Thought.

• The Journal of Korean Philosophical History
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• no.27
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• pp.197-222
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• 2009

The Reform Movement(戊戌變法) of 1898 was a boundary tablet of modern history of science and technology which inherited the past and ushered in the future. Kang Youwei(康有爲), as a leader, his scientific thoughts opened up the way of Chinese enlightenity campaign and pushed the development of Chinese modem science and had an important position in modem history of scientific thoughts. The dissertation analyses the source, establishment and content of Kang Youwei. Kang Youwei developed the useful and discarded the useless of the view of implement science held by the Westernized Party, undertook a deep and throughout thinking on the nature of science, had cognition of scientific methods and spirit, by which he criticized negative proneness of ancient Chinese views of science. He put forwards a series of practical suggestions on political reform that provided a solid guarantee and support in system for scientific development. Kang Youwei rooted in the soil of Chinese traditional academic culture, but also western learning in modern western civilization. Kang go through Westernization Movement since the in-depth study of Western natural and inevitable outcome of the social sciences, are giving to science and technology. Although he was originally of Western "science" has a lot of misunderstandings and prejudices, but these shallow hazy perceptual knowledge, his view of science which constitutes the basis of the formation. In the course of scientific inquiry, Kang has begun to explore the essence of scientific development. He has a gut feeling that behind the scientific discovery of the existence of a force, which is the scientific truth and is used to grasp the scientific method. After contact with the Western world, with the traditional "Heaven(天)", and modern Chinese intellectuals began to "axiom(公理)" to recover his traditional "Heaven" of the new understanding is reflected mainly in "Zhutianjiang(諸天講)". "Zhutianjiang" is the Kang Yuwei in the absorption of traditional astronomy knowledge base, will the traditional arithmetic, as well as Buddhism and the West since the twentieth century, new knowledge of astronomy combines written. Kang while recognizing that scientific instruments, is nothing more than an extension of the role of the human senses and make the "Dao(道)" is more clear, but the "artifacts(器物)" caused by the inherent limitations of the limited nature of human knowledge, which is "Heaven" boundless nature of the broad terms, refused to concede defeat to. In reality, the activities of political reform, he gradually recognize this real-world helpless, and he recognized that the real world to achieve common ground of social ideal is impossible, so he chose comfort in life that people really get a stage of "Tianyou(天遊)". This is the cause that his writing "Datongshu(大同書)", at the same time, followed by writing "Zhutianjiang" talk "Tianyou".

• Journal of the Daesoon Academy of Sciences
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• v.29
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• pp.101-140
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• 2017

Currently, the whole world is being swept away by spiritual movements. Since the Three Kingdoms periods, Korea has been under the influence of "The Three Teachings". But during the modern times, the word "The Three Daos" began to be widely used alongside the expression "The Three Teachings" within various circles of New Korean Religions. Regarding this, Daesoon Thought is particularly noteworthy due to its description of the religious realm spoken of as "Confucianism, Buddhism, and Taoism" and the figurehead of that realm, the "Gwan-wang (Crowned King)". This study suggests that there should be a distinction noting the differences between "The Three Teachings" and "The Three Daos" in order to understand the status of the "Gwan-wang" in Daesoon Thought and to facilitate the study Buddhism as both a religion and a religious principle within the context of "The Gwan-wang of the Three Daos". Chapter II, details the conceptions of "Dao" and "Teaching" in the Eastern tradition and "Religion" in the Western tradition. This chapter includes a discussion of how the word "The Three Daos" could be approached as a "Theory of the Three Daos" that explains the religions of the East and the West through comprehensive principles. Chapter III goes through descriptions in the Jeon-gyeong of Buddhistic faiths, doctrines, monks, and temples to discover the meaning of the Dao of Buddhism and Buddhist culture as contained in the Jeon-gyeong. In chapter IV, the Buddhistic characteristics of Daesoon Thought is clarified in three ways: the Dao of Buddhism as the "substance of form", oneness as "growth and nurturing", and "Jinmuk" as the leader of the Dao of Buddhism. From this discussion, it is shown that research on the Dao of Buddhism in Daesoon Thought is a crucial avenue for understanding the identity of Daesoon Thought. In other words, the status of Daesoon Thought is not irrelevant to the Dao of Buddhism or to Buddhism proper, but Daesoon Thought should instead be understood as pursuing the state of Gwan-wang (Crowned King), which has the Dao of Buddhism as an axis characterized as "the substance of form" or as "growth and nurturing". Also, it provides a comprehensive view by which the various aspects of Buddhism as a modern day religious phenomenon of can be understood under the principle of the Dao of Buddhism.

• (The) Research of the performance art and culture
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• no.40
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• pp.269-305
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• 2020

Youngsan is generally known as Pansori Danga(短歌). However, the contents of 'Yeongsan' in 『Songnamjabji』 are different. In 『Songnamjabji』, Cho Jaesam explained the contents related to 'Youngsan' using three kinds of poems: Shin Kwangsoo's poem, Baegho Imje's poem, Kim Myeongwon's poem. First, 'Ujo Youngsan' appears in Shin Kwangsoo's poem. Shin Kwangsoo wrote the (1750) when Yoo Jinhan's 『Manhwajib(晩華集)』(1754) was published. It is difficult to see the 'Ujo Youngsan', which appears in Shin Kwangsoo's poem written in a time when Pansori was not widely known, as the Pansori Danga. Second, Jo Jaesam called the music in Baegho Imje's poem 'Youngsan Dodeueum'. In 'Youngsan Dodeueum', flute and 'Dodeuli rhythm' were used. This fact is connected with , an instrumental music. , also a Buddhist term, continued to be used in the palace as well as among the people. Third, Cho Jaesam introduced Kim Myeongwon's poem in 'Yeongsan' part and called it 'Taryeong.' At that time, the term 'Taryeong' referred to both Pansori and Jeongga(正歌). Later, in the 19th century, 'Youngsan' was recorded as a term for the Danga to loosen the neck before Pansori began in earnest. In other words, the early 'Yeongsan' recorded in 『Songnamjabji』 was a Buddhist term, referring to the music of the upper class Seonbi, such as , Gasa(歌詞) and Sijo(時調). In 1855, when 『Songnamjabji』 was written, 'Youngsan' was used as a term used to refer to both Changbu-Music and Gagaek(歌客)-Music, mixed with the term 'Taryeong'. And as Pansori became popular, the term 'Taryeong' came to be called 'Pansori' and 'Youngsan' was used to refer to Pansori Danga. Therefore, all the records of 'Youngsan' should not be interpreted as Pansori Danga. This situation is closely related to religious and social change. The policy of worshipping Confucianism and suppressing Buddhism rejected the term 'Youngsan' which had a Buddhist meaning. In the middle of Joseon Dynasty, when Buddhism was suppressed, 'Youngsan' and 'Taryeong' were mixed. As Buddhism regrown in the late Joseon Dynasty, with the advent of Pansori, the term 'Youngsan' seems to be newly resettled in the sense of Danga. Pansori appeared in the 19th century and 'Yeongsan' was used as a Danga. And the reason should be regarded as this social and religious change.

• (The) Research of the performance art and culture
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• no.40
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• pp.71-109
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• 2020

Nihonbuyo(日本舞踊), a typical traditional Japanese dance, began with kabuki dancing and formed many schools, and was managed by Iemoto system. Iemoto(家元) is the head family of a school of a traditional Japanese art. Iemoto(家元) existed after the establishment of the ancient family system, and it was established as a system during the modern feudal period. Especially in Nihon Buyo, the Iemoto system has developed greatly since the modern era. Iemoto System has has contributed greatly to the succession of traditional arts and has been considered one of the characteristics of Japanese society. Basically, Iemoto system considers it the best authority to pass on the skills of excellent teachers without any distortion. It has various forms depending on the field and the school, but it is an organization with a family structure similar to that of a family with Iemoto at the top. In this article, I examined the establishment and background of the Nihonbuyo and considered the succession of the fame and authority of Iemoto through the system of succession. There are so many schools in the Nihonbuyo world that it is said to be a school kingdom. These schools were divided into kabuki actors, choreographers, female entertainers, ChiutaMai dance(地唄舞) and new dance styles, and the aspect of the Iemoto system was examined through the background and characteristics of each school. While Iemoto system has a positive aspect of inheriting the tradition, there are also many negative criticisms in the art world, such as rigid organizational management, the products of feudal society, the power of Iemoto, and the stalemate of arts. Nevertheless, in a Japanese society that places importance on tradition, the landlady system will not disappear easily. In fact, today, when there are many different art genres in common, young dancers are starting to challenge themselves along with self-examination of Iemoto in order to make the best use of traditional art. We hope that through consideration of the Japanese housekeeping system, it will become a place where intangible cultural properties will be re-acknowledged.

• (The) Research of the performance art and culture
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• no.40
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• pp.223-268
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• 2020

In contemporary Theatre, the case of inducing direct communication between the audience and the performance is prominent. Especially with the development of digital technology, the audience wants a personalized experience. The emergence of 'immersive Theatre' in this trend has attracted great attention both at home and abroad. In particular, the most important role in the emergence of the concept of 'immersive Theatre' is the British punchdrunk Theatre. Their representative performance began to premiere in London in the UK in 2003 and has expanded to include New York and China in Shanghai and continues to be extremely popular until 2019. In general, a review of existing studies on the role of the audience in shows that the focus is on the participation of the audience. What experience will be given to the audience can not be emphasized in contemporary Theatre. In order to satisfy the diverse needs of the audience, contemporary Theatre are increasingly showing complexity that cannot be explained by any one theory. The same goes for . This is because each audience wants a personalized experience, and there are differences in experience depending on the environment in which the audience also grew up, knowledge, culture, and taste. This study selected Punch Drunk's as a performance that can represent contemporary Theatre, and conducted a study on the role of audience in contemporary Theatre. To this end, we have historically explored past discussions about the role of the audience and discussed the characteristics of the role of the audience in contemporary Theatre. Next, I analyzed in detail the experience of the researcher "He" who watched the performance with the researcher on the role of the audience in . In conclusion, the experience of the audience in is diverse and complex. In other words, the role of the traditional audience in the proscenium play, as well as the audience as a participant in the post-drama play, was also complex in the performance. And this complexity was not a coincidence, but a planning strategy for the Punchdrunk Theatre. Therefore, when discussing the role of the audience in contemporary Theatre, there should be a discussion that clearly sees the complex characteristics of contemporary Theatre through the approach from various perspectives, rather than merely one view of the audience as a participant. something to do.

• Journal of Practical Agriculture & Fisheries Research
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• v.4 no.1
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• pp.110-118
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• 2002

This study was conducted to investigate the physiology of optimal reproductive age in Hanwoo for protection to decrease of reproductivity and improvement of production of offspring. Thirty two cows were devided into 4 groups of treatments : T1(12 months of age and 0.5kg daily gain), T2(12 months of age and 0.8kg daily gain), T3(15 months of age and 0.5kg daily gain) and T4(18 months of age and 0.5kg daily gain). The days of the first heat of treated cows were 263.3±6.4 days and average weight was 181.1±11.3kg. The conception rates of first insemination were 25%(T1) and 75%(T4), and the number of insemination of T3 and T4(both 1.5) was lower than those of T1 and T2(2.3 and 2.4), respectively. With regard to estrus return after the first parturition, T1, T2, T3 and T4 showed 66.2,76.7, 62.4 and 68.5 days, respectively, indicating the average days of estrus return was 65.7. Plasma progesterone(P4) concentration was nearly the same during the observation periods of treated cows and P4 began to be detected after 12months. Only 5(15.6%) out of 32cows showed normal estrus cycle and ovulation before 12 months. During the peri-parturition period, P4 concentration was rapidly decreased and there was no detection of P4 from parturition to 40 days after milking. P4 would be released again on 45 day after parturition. The results imply that the optimal reproductive age of Hanwoo heifers would be around at the 14 months of age, 110cm height and 265kg weight.