• Korean journal of communication and information
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• v.43
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• pp.7-46
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• 2008

The purpose of this essay explores a critical review of the Korean critical communication studies focused on the problematic of cultural studies and political economy in 2000s. The findings are as follows; The 'consumer turn' or 'audience turn' in new revisionism modelling John Fiske's cultural studies has been interpreted not to complement but to substitute the necessary criticism of the post-authoritarian media establishment of Korea at that time, arising identity crisis of Korean cultural studies as one of the critical camp. On other side, however, some political economy studies close to the unilinear theses of orthodox marxism has been appraised to neglect the complex process and structure of media and cultural production as well. While the press war between the market-dominant dailies and some progressive dailies has given rise to a whole debate as expected in consolidating period of Korean emerging democracy, the conjucturalism as modelled by Hall's 'authoritarian populism' failed to initiate a new theo tical practice in Korea. Finally, this review essay propose the some new research issues that would converge cultural studies and political economy, modernism and postmodernism; citizenship vs 'cultural citizenship'(valuing the private identity and gender) or Habermasian public sphere vs 'cultural public sphere', the culture of production, (modern)citizen/(postmodern)consumer(recently debated in English media policy), 'differentiation' in capitalist production and 'difference' in consumer sovereignty, 21c future vision of public service broadcasting as one of the 20c institutions.

• Korean Journal of Microbiology
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• v.24 no.3
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• pp.295-301
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• 1986

The bacteria, which were capable of producing ${\beta}-1$, 3-glucanase inducibly by utilizing cell wall of Aspergillus fumigatus as a sole carbon source, were isolated from soil in the campus of Kyungpook National University. Among them, the strain which produced the enzyme excellently was selected and identified to be Pseudomonas stutzeri KF 13 by morphological, cultural and physiological examination. The optimal conditions for the enzyme production from Pseudomonas stutzeri KF 13 were investigated. the enzyme production was reached maximum state shen the broth cultured for 72hr at $30^{\circ}C$. And the enzyme showed the highest activity in the medium containing 3.5% cell wall as an inducer, 15% yeast autolysate as a nitrogen source and 0.05% $MnSO_4$ at pH 7.5.

• 보존과학연구
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• s.31
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• pp.141-154
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• 2010

Many bronze artifacts have been excavated and preserved through conservation treatments in Korea but the analysis on artifacts was regarded as destruction of artifacts from the academic world of archaeology, Therefore, it is not so available to perform research on production techniques and provenances by with qualified analysis. Accordingly, there were only a few study cases about quality properties and production techniques But recently gradual change started to appear from the awareness of the need for the scientific approach to excavated artifacts. While Korean ancestors already had applied the different alloying ratios according to the use and shape of bronze artifacts, the analysis and study have been restrictedly performed. As a result, there was only a few analysis cases on a small minority of artifacts because they are the ancient relics, which made it hard to understand the bronze artifacts more deeply. This study researched into components rate, production techniques and hardness of bronze weapons such as a bronze sword and compared their alloying ratios with those of Chinese old records (周禮考工記, 金之六齊).

• 한국HCI학회:학술대회논문집
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• 2009.02a
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• pp.1257-1264
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• 2009

In regard to media contents of digital heritage reconstruction, they are actively produced in museums, art galleries and special exhibitions. However, there is no concrete guideline for the productions and the pipelines are not systematic either. This makes the process ineffective regarding time and cost. Media contents production of digital heritage reconstruction might seem similar to film or documentary production, but it is important to construct its specific pipeline based on its specific purpose. The digital Heritage group in research center for culture technology of KAIST produced media contents which digitally reconstructed various heritages such as Persepolis, Iranian remains, with National museum of Korea, Sukgulam, and Hue, an ancient city in Vietnam, with Cultural heritage administration of Korea. From these experiences and case studies, this paper will present a pipeline model for efficient production.

• The Korean Journal of Mycology
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• v.16 no.3
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• pp.128-134
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• 1988

For the preparation of fermented feed with Lyophyllum decastes, optimum cultural conditions for the production of cellulase were $30^{\circ}C$, pH 6.0, 60-70% moisture content and the cultural of 15 days. Among the submaterial added, 30-40% of rice bran and 0.72% of $(NH_4)_2PHO_4$ were effective for the cellulase production and its production increased when rice straw treated with 4% alkaline peroxides. Solid state fermentation of rice straw with Lyophyllum decastes for 40 days removed 19.9% of lignin, and increased the total nitrogen content to 1.6% from 1.1%. As the fermentation proceeded, the in vitro dry matter digestibility of fermented feed was increased and it increased 21.1% after 35 days.

• Journal of Cadastre & Land InformatiX
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• v.54 no.1
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• pp.63-74
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• 2024

The fundamental basis for revitalizing cultural resources and developing content is national heritage(cultural property). In national heritage, cultural heritage is a tangible cultural heritage that represents the uniqueness of history and tradition, identity, and changes in life. In the case of museums, the collections (a museum-owned cultural heritage) represent the unique characteristics of the institution. In South Korea, it is recommended that museum collections be registered and used in the Cultural Heritage Standard Management System so that cultural heritage can be managed and utilized in connection with academics, industry, and administration. However, due to a lack of awareness of modern and contemporary heritage, the thematic classification chronology of the system was set mainly before the Joseon Dynasty, and a cultural heritage classification system suitable for national land information has not been established. Therefore, this study aims to propose a classification system for cadastral cultural heritage, based on the modern era when cadastral terminology was first used, using the cultural heritage owned by the LX Museum. Cadastral cultural heritage is characterized by the fact that although it is a field of specialized technology, the surveying or the production of it is not done by specific individuals only, and that while the production is professional, there are many educational aspects in its use. Therefore, unlike other specialized museum collections that are classified based on the functional aspects of their production methods, intended use, and creators, the classification method for cadastral cultural artifacts should be based on the characteristics of the cadastral tools and the outputs. This classification follows a three-tier stages with reference to the items in the Cultural Heritage Standard Management System. This classification aims at the effective use of knowledge by categorizing concepts and systematizing the subjects of data into a series of orders. A safe conservation and management environment for cadastral cultural heritage can be established, and academic and socio-cultural interpretation of the collection is possible by this classfication. Moreover, It is also expected to serve the basis for the national land information as well as searching for the national land information research, planning a exhibition, and the field of education in museum.

• Korean Journal of Heritage: History & Science
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• v.53 no.1
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• pp.34-51
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• 2020

In order to clarify the lime-based building method used in the Joseon Dynasty, lime materials, production techniques, and mixing methods recorded in ancient literature were examined. In ancient Joseon Dynasty literature, the use of low grade limestone as a raw material was recorded, and the use of pozzolanic materials such as Hwangtoh, white clay, and roof tile powder as mixing aids to enhance the strength of lime was recorded. In addition, various lime hydration and mixing methods were recorded, and based on re-experiments carried out with regards to this, a physical property evaluation was deemed to be required in accordance with the various types of raw lime materials, lime hydration methods, and mixture ratios. In the early Joseon Dynasty, lime was used for various aspects, but frequent problems were experienced due to lack of supply and poor production techniques. In the late Joseon Dynasty, lime production techniques developed along with mass production. Based on analysis of the manufacturing techniques of Hoegwagmyo lime mortar in the 16^th and 18^th centuries during the Joseon Dynasty, it was found that mixing ratios and the methods described in the ancient literature had been applied. It was confirmed that the mixing ratio differed depending on mixing materials and lime quality. Since the mixing ratio of Hoegwagmyo lime mortar changed over time and it was produced strictly on the basis of a guidebook, it is believed that if continuous scientific analysis of the Hoegwagmyo lime mortar production method were carried out, this would be helpful for ascertaining the chronological methodology of Hoegwagmyo.

• Journal of the Korean association of regional geographers
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• v.17 no.3
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• pp.259-269
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• 2011

The meaning of fengshui was another cultural ecological environment in the pre-modern in Korea. Village residents made interrelations with village natural environment by the medium of the geomantic landscape. The functions of cultural ecology through the village fengshui are as follows: the spatial location, the population inflow, the regulation of the community's production or construction or land-use, the adjustment of the environmental carrying capacity, the environmental management, the forming of the collective environmental perception and attitude. Village fengshui is a cultural adaptation strategy to the local environment for the village residents. Fengshui can be evaluated as a traditional cultural ecological way and knowledge system for keeping sustainable village environment in East Asia.

• Korean journal of communication and information
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• v.52
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• pp.154-176
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• 2010

Rooted in the work of Pierre Bourdieu, the cultural intermediaries have recently developed as a focus of attention for the Anglo-saxon sociology of culture and cultural studies. This paper tries to critically examine the debate around the definition and role of cultural intermediaries. It also explores the applicability of the notion ‘cultural intermediaries’ to a changing digital mediascape. In the first part of the paper, I clarify the critical problematics inherent in the Bourdieusian conception which focuses on the function of cultural intermediaries for the ‘production of the belief’ in cultural goods. Consequently, I draw attention to the mediation and transformation process of ‘legitimate culture’ by critics in mass media as ‘new cultural intermediaries’. In the second part, I attempt to constitute a typology of cultural intermediaries, proposing the notion of ‘on-line cultural mediation’ and ‘on-line cultural intermediaries’. I also outline the characteristics of three different types (‘traditional’, ‘new' and 'on-line') of cultural intermediaries. I argue this new conception of cultural intermediaries can help to understand the complex power relations and their transmutation in various cultural fields under digital environment.

• English & American cultural studies
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• v.14 no.2
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• pp.233-249
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• 2014

This essay addresses the missing conversation in Keats studies by showing how an enduring mystery of Romantic writing—the medium of poetic process and the physical conditions of enunciation—remains a central question in the Hyperion fragments. It is my argument that the tropes of material textuality prevalent in the Hyperions represent a bold cultural statement in which Keats reacts to the major premises underlying the Romantic culture's notion of poetry as abstraction: the Romantic notion of literary (re)production as a product of the activity of a mind. Keats's self-conscious, symbolic representation of the mechanics of poetry-making can be read as an investigation of the ways in which the Romantics were aware of and even eager to articulate the instabilities of their position on the relations between words and things. This essay does not focus exclusively on the physical embodiment of Keats's work as such, so much as the second-generation Romantic poet's contribution to the Romantics' self-conscious and critical understanding of the depiction, perception and ideologies of their poetry and its mediation.