• Journal of the Society of Disaster Information
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• v.8 no.1
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• pp.1-9
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• 2012

Informatization of society through the computer and the Internet, because large amounts of information production and exchange and new way of communicating is born. Passive way past the one-sided information flows actively interact to evolve in a manner of information producers and information consumers distinction and personal relationships that enhance the online Social Networking Service (SNS) has developed into the social structure of. Thus, the spread of information work closely with the social network structure spark social conflict may act as a factor, and systems and the environment, personal and cultural adaptation of speed to keep up with the rapid development of science and technology as the inability conflict and confusion should lead to even. This paper the characteristics of the information society, with a look at the evolution of social risk factors as the wavelength of information about this look at the role of private security sought to evaluate. Information Society in time and space by shrinking the area of human life that has brought the convenience and simplicity, whereas the non-performance due to the nature of anonymous raises many social side-effects are. This made the preparation of national regulatory measures, but for the protection of personal protection devices in the private sector has not yet been discussed. Way of life and property of the purchaser to protect an individual's private security will have to charge it.

• Journal of architectural history
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• v.10 no.3 s.27
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• pp.7-23
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• 2001

We Koreans are very proud of this nation's cultural history over some five millenniums. But most of the relics found in the nation date back up to two thousand years. Under this circumstance, we are wondering the gap and missing of three thousand years. In our traditional literature of history, [Chiwoo] was a military god of supreme dignity and virtue. He was a symbol of brave and strong warriors and since the antiquity, he has been kept alive deeply in the mind of the Korean race. Considering findings through this study, the researcher could provide a conclusion as described below. 1) The name of Paekje's designed tiles was initially made by a Japanese scholar who had first found the antique relic. According to studies by a few of Korean researchers, the name is usually called despite its relation with a historical background of the excavated objects has not been fully studied. 2) After the patterned objects of the Korean antique Kingdom, Japanese researchers reported that [Chiwoo] was a military god as exorcist and probably represented something in the form of a ghost, although there were arguments that the military god was the very being to influence the image of the ghost. This report suggests that the Japanese community didn't downgrade the military god onto the level of a ghost. 3) One of our antique nations, Paekje at that time sought to determine the origin and culture of the Koreans by making multiple exchange relations with China, and probably accepting cultures of the Chinese Han nation and those of the Chinese South and North Dynasty period. Based on findings from a relevant literature, [Sulyigi], people of Paekje attempted to show express the image of Chiwoo in their own unique ways and then deliver the strong bravery of [Chiwoo] to us, or their descendents. This can explain that those findings as above mentioned are consistent with the designed tiles of Paekje, and that the tiles should not be named as the design of ghost. 4) The designed tiles involved elements of Taoism and Buddhism and substantially considered the spirit of four gods which was mobilized for the tomb construction and selection at that time. But this should never be a reason why all of the horned figures seen in tomb wall paintings are collectively treated as ghosts. 5) From the view of historic literature, we can no doubt say that the Heavenly Emperor [Chiwoo] was our ancestor. It is not better to say that the relic stuffs as excavated should be referred to the design of ghost image only in that they have yet to be associated historically with other relics. This claim would be newly changed as it becomes clear with historical remains that our antique ancestors kept doing positive activities along the coast of the antique kingdom, Balhae.

• Microbiology and Biotechnology Letters
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• v.26 no.6
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• pp.515-522
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• 1998

Plant root rotting fungi, Fusarium solani are suppressed their growth by the chitinase which is produced from the antagonistic soil bacteria. The chitinase producable antagonistic bacterium Pseudomonas sp. 3098 was selected as a powerful biocontrol agent of F. solani from ginseng rhizosphere. The antagonistic Pseudomonas sp. 3098 was able to produce a large amount of extracellular chitinase which is key enzyme in the decomposition of fusarial hypal walls. The chitinase was purified from cultural filtrate of Pseudomonas sp. 3098 by the procedure of ammonium sulfate precipitation, anion exchange chromatography, gel filtration on Bio-Gel P-100, and 1st and 2nd hydroxyapatite chromatography. The molecular mass of the purified enzyme was ca. 45 kDa on SDS-FAGE. The optimal pH and temperature for the activity of purified chitinase were 5.0 and 45$^{\circ}C$, respectively. The enzyme was stable in pH range of 5.0 to 9.0 up to 5$0^{\circ}C$ The enzyme was significantly inhibited by metal compounds such as FeCl$_2$, AgNO$_3$ and HgCl$_2$, and was slightly inhibited by p-CMB, iodoacetic acid, urea, 2,4-DNP and EDTA. The enzyme had ability of digestion on colloidal chitin and chitin from shrimp shell, but could not digest chitosan and chitin from crab shell. Km value of the enzyme was 0.11% on colloidal chitin, and the maximum hydrolysis rate of the enzyme was 34% on colloidal chitin.

• Microbiology and Biotechnology Letters
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• v.31 no.3
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• pp.250-256
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• 2003

Lactic acid bacteria with amylolytic and acid producing activities can ferment starch directly to lactic acid thereby producing a monomer for the production of biodegradable poly lactic acid (PLA). In this study, the strain producing L-lactic acid from soluble starch was isolated from Nuruk. The isolated strain was identified as Enterococcus sp. through its morphological, cultural, biochemical characteristics as well as the 16S rDNA sequence analysis, and named Enterococcus sp. JA-27. Enterococcus sp. JA-27 produced exclusively L-lactic acid from soluble starch as a carbon source. The optimal conditions for the maximum production of L-lactic acid from Enterococcus sp. JA-27 were 30 C, pH 8, 1.5 % soluble starch as a substrate and 3.5 % tryptone as a nitrogen source, 0.1 % $K_2$$HPO_4$, 0.04 % $MgSO_4$. $7H_2$O, 0.014 % $MnSO_4$$.$4$H_2O$, 0.004% $FeSO_4$$.$$7H_2$O. Batch and fed batch culture were carried out and the former was more effective. L-Lactic acid production in the optimum medium was significantly increased in a 7 L jar fermenter, where the maximum L-lactic acid concentration was 3 g/L. For the purification of lactic acid in fermented broth, two stage ionexchange column chromatographies were employed and finally identified by HPLC.

• Archives of design research
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• v.18 no.1 s.59
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• pp.233-244
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• 2005

Fashion is one of the characteristics which represents the comtemporary sociocultural signifiant. A style that a certain stream of fashion brings is not just limited in fragmentary tendencies and fads. That can be a code to communicate and function as a medium in itself. Music has been displaying it's power to fashion while fashion has been exercising it's influence over the music. There is an inseparable relationship between music and fashion in terms of expressing our images of the world: fashion delivers them through visuality and music does it by sound. Both fashion and music are reflecting our society as well as they are influencing on sociocultural aspects generally. Whenever music has been changed new youth culture has been made and this culture has been expanded with forming some distinct fashion trends. The study focuses on identifying the relations between pop music and fashion styles which are occupying positions firmly on the bases of youth culture through analysing the relations between the fashion styles and music genres which are used in sub-culture groups to express their own identities and consciousness from a point of semiotics. In conclusion, subculture is the exit of their escaping from the compelling inconsistency cause by the condition of people's life and the way for them to solve through cultural sublimating for themselves. People come up with distinctive style of music and fashion to express their resistant signifie in their symbolic way. In addition, a particular music trend has much to do with a contemporary fashion style. In the relationship between music and fashion, there have been the subtle mechanism to boost and influence and some crucial similarity each other to signify inner values of the times. This study lets us realize that fashion is not only a popular style of clothes, hair, etc. at a particular time or place but also a medium to communicate and to guarantee polysemous identity by functioning as a flexible tool to exchange contemporary sociocultural meanings.

• The Journal of the Korea Contents Association
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• v.10 no.8
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• pp.327-340
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• 2010

Since South Korea has problems existing in the respects of educational resources, environment, policies, etc., local universities of South Korea have been in an inferior position in the competition of overseas student enrollment. With increasingly deepening of cultural exchange between China and South Korea, due to geographic close relationship between the two countries, a great number of South Korean students go to China for study; also, Chinese students have increasingly become the important target of recruitment by all local universities in South Korea. In recent years, with rapid increase in the number of Chinese students in South Korea, the overseas student education system of South Korea has been progressed continuously. Compared with educational advantages of universities in European, American developed countries, and the capital region of South Korea, however there still exists a lot of problems in Chinese student recruitment by local universities. The major findings of the study can be summarized as follows. There exist not only some advantages but also some problems to be addressed urgently in Chinese student enrollment by South Korean local universities. How to build a distinctive recruitment environment suitable for Chinese students; and, how to develop a complete "one-stop" educational system suitable for study; and, how to make a strategy of development for Chinese students; and, how to perfect set up the overseas students' education management system; which are the remaining tasks to be solved for. To achieve a win-win for both overseas students and South Korean local universities, it is very important and urgent works to do for administrators of Chinese students in all local universities of South Korea.

• The Journal of Art Theory & Practice
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• no.2
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• pp.169-190
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• 2004

The purpose of this article is to delve into the problems of originality of the artwork by examining issues of reproduction within the contemporary art market. In contemporary arts, especially in terms of art production and consumption, we can't overlook society and its economic structure and its connection with of capitalism. As the purity of art creation has turned into an exchange value, art, especially an object as artwork, has fallen into the status of production in an economic marketing system. Walter Benjamin mainly referred to that point in his thesis Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit, which originated the sociology of plastic arts. This thesis, published in 1936, traced how the artistic functions of photograph and movie had been changed through the social development. His main concerns were movie and photograph but what I am concentrating from his point of view, is that even in the field of plastic arts, the manufacture of reproduction has been practiced as a primary method within the social and political contexts and development. Though I am referring to this in the main body of this article, reproduction in contemporary art strongly needs a new definition since it has been spread all over like a newest virus, not only by collector's personal taste or hut also by commercial circulations of these reproductions to the public. This relates to Benjamin's argument about the value of an exhibition at a museum(Ausstellungswert). Since the function of an artwork has been one of cultural industry, the manufacturing of reproduction raises unexpected problems, such as, the originality of the artwork, the value of an exhibition at a museum, its achievement as documentary and as a territory of art criticism. In this point of view, I want to inquire into the value and criteria of an exhibition in contemporary art through the review of the definitions and the intrinsic attributes of reproduction. Somehow in a broad sense, the reproduction is a product coming out of representation or copy (replica) of an original art work or an model. Therefore, the problems it presents differ from the Simulacre, which is an image without an original one. In terms of the Meanings of reproduction, we can distinguish it as reproductions, copies, and productions. These types of reproductions are not the original artworks reflected by the creative intention of the artists. For example, a publishing company reproduced some of lithographs of Salvador Dali in the 1960s. They are commercial copies in the form of representation or reproduction with no artistic and creative intention of the artist. However, In despite of this theoretical basis, reproductions of the famous artists are still displayed without any verification for of the public's quest for the artworks. Moreover, many commercial companies that are planning to exhibit art works of the world-famous artists only for their profits keep trying to speak ill of and judging by the law the honest art critics' articles which discuss the true values of exhibition. If freedom of expression is one of the ideals of democracy, even the judgment of the originality of the artworks should be freely expressed.

• The Journal of the Korea Contents Association
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• v.18 no.3
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• pp.456-471
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• 2018

A Comparative Study on the Korean animation industry and 3 of this paper is a matter of Korea, China, Chinese animation industry and the Current Status and Problem of Chinese animation business in overseas markets.Aimed to find ways to expand exports. In order to realize this purpose with theoretical backgrounds, such as animation concept and characteristics of the research literature, look at ways a paper from an animation industry, work, China.Chinese animation development plan based on the bibliographic data and case study based on books. First, by government in terms of development measures and supplement the system and a law on the animation industry. First of all animation industry and producers To help protect the government is to become an active policy must be supported with funds and animation to ease the relevant laws and regulations and joint venture with foreign countries.Pursuing an active policy is needed. Second, an animated feature can get the full benefit of the industrial chain to and create derivative works as a multilateral needs to be improved. Third, the animation expertise to build human resources need to be nurtured. Fourth, in order to cater to overseas markets in China will create various types of Chinese traditional culture based on the animation is important. Fifth, and a mobile home page to get in. Sixth, will be easily exported to overseas markets to the creation of joint international exchange and international.

• Journal of the Korean Society of Fashion and Beauty
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• v.6 no.1
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• pp.28-38
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• 2008

Balhae was an ancient Korean kingdom that existed almost 1,300 years ago. It was a dynamic time in the Korean history when the national strength was building up in terms of politics, economy and culture, thereby called as "Haedongseongguk, the powerhouse in the East". Balhae had dominated parts of Manchuria and the northern part of the Korean peninsula between the late 7th century and the 10th century, occupying the center stage of the northern Korean history. It serves as a window to the East Asia in the present as well as in the past. Yet, due to its geography spanning from the North Korea to Kilin Province of China to part of Heilongjiang Province and to the Littoral Province of Siberia, Balhae has been the center of historical disputes among neighboring countries that insist it is part of each of their own history. China argues that it was a prefecture of the Tang Dynasty, established by the Mohe, not a successor to Goguryeo, which is a China-oriented viewpoint of history. In addition, Russia recognizes Balhae as their first-ever medieval feudal state since the Littoral Province is now under their sovereignty. Therefore, the restoration of Balhae history is in line with the veritable establishment of the ancient Korean history. For this, it is necessary to embrace inter-disciplinary achievements and to continue efforts to adopt them rather than to blame the shortage of historical documents and the difficulty of the excavation of relics. If fashion is "a visual symbol" of our society, beauty culture serve as a mirror to reflect our civilization and culture directly or indirectly. Still, it is not easy to draw similarities by analyzing and comparing the attributes of various cultures and civilizations party because the essence of culture lies in diversity. Nevertheless, it is believed that cultural liaison as well as geographical liaison can be a medium to compensate for the limits of the foreign exchange history of Southeast Asia in proving the relationship between Goguryeo and Balhae, by examining and speculating beauty culture that reflect their period. It was confirmed by various documents regarding Goguryeo out of relics, historical sites and documents. Mural paintings showed how the people of Balhae wore and accessorized themselves. They also allowed us to speculate their way of living. As the contemporary historians can assert that Balhae is part of the Korean history thanks to the realism scholars in the late Joseon Dynasty, who rediscovered the Balhae history and conducted practical researches, it is expected that researchers who study beauty culture contribute to completing the restoration of the Balhae history by thoroughly examining our history, costume and beauty culture.

• Journal of the Korean Society of Costume
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• v.34
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• pp.169-182
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• 1997

Focusing on khotan located in the southern Silk Route which was one of the most important kingdoms in the Tarim Basin this study attempts to examine the changes of costume in Khotan by compar-ing the costumes in the painted panel showing the story of silk princess with the excavated costumes from ancient tombs. Furthermore this study attempts to inves-tigate the impacts of cultural exchange be-tween China and its western neighboring country Eastern and Western Turkestan on costume. Excavated costumes from the Shanpula ancient tomb in the region of Khotan and from ancient Niya in the esat-ern border of Khotan and discoveries from Rawak and Dandan-oilik near by Yotkan the ancient capital of Khotan are exam-ined. Basic Khotan's costume was the two piece style of tops and trousers. Over the basic costume wearing a top wear with half sleeves was popular. Skirt was worn by women. Even though there were many kinds tops were classified into the two types kaftan and tunic. Thouth Khotan maintained a association with China for a long time the style of Khotan costume had imbued to China. Top wear with half sleeves was worn frequently in Khotan. Also in China top wear with half sleeves was worn as over-wear which was called ban-xiu ban-bi bei-zi Costume style of China is covering the body profoundly and wrapping front edge toward the right. The types of chi-nese top wear with half sleeves for exam-ple round-neck·confronting front edge crossing-neck·confronting front edge tu-nic type discord with the traditional chi-nese costume style There were many cas-es that half sleeved top wear was worn as over wear in T'ang dynasty. The phenom-enon was due to the prevalence of 'ho' (foreign) and half sleeved top wear was introduced by the countries to the west of China Khotan. A round neck garment was a general type for the men of cuntries to the westof China. Also Chinese wore round neck garment since South and North Dynasty The type of Chinese round neck garment was not tunic but kaftan. From costume relics and ancient paintings the type of Khotan's round neck garment was tunic which was recorded on the Chinese histori-cal documents as " guan-tou-shan" that is tunic the type of persian costume, Even thgough the painted panel showing the sto-ry of silk princess was made in the it me when Turks was a dominion on Central Asia Khotan's costume style was not changed toward Turk's costume style and remained tunic style.