• Proceedings of the Korean Society of Crop Science Conference
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• 2022.10a
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• pp.221-221
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• 2022

Chromosome breakage occurred by DNA methylation inhibitor. Zebularine is known as DNA methylation inhibitor and suitable for water solubility among different DNA methylation inhibitors as 5-Azacytidine and 5-aza-2'-deoxycytidine. We used zebularine as mutagen according to different methods by roots absorption and seed imbibition. After zebularine treatment, DNA methylation inhibitor, we observed mitotic chromosome behavior what is different according to two different treatment methods. First, seed imbibition treatment in 1,000 μM of zebularine solution for 72 hours in dark conditions. The second treatment to seedlings of Keumkang was also treated in 1,000 μM of zebularine solution for 72 hours after germination. Root and shoot showed different elongations in each treatment. Root absorption treatment(3.01±0.48, 2.00±0.26) showed the shortest elongation in root and shoot than control(8.16±0.61, 4.03±0.48) and seed imbibition treatment(4.33±0.80, 2.48±0.36). It can be explained root tip meristematic cell activity was damaged by DNA methylation inhibitor. Primary root tips were collected in DW for 24 hours at low temperature(0℃) and fixed in fixation solution for 3 days to chromosome observation in mitosis. Mitotic index, chromosome structure and chromosome aberration were observed by phase-contrast microscope. Mitotic index of the control(0.29) showed twice mitotic cells as the treated groups(imbibition 0.15, absorption 0.14). Observation of chromosomes showed some short chromosomes and loosen chromosomes affected by zebularine. It is considered because of zebularine damage DNA in mitosis. We observed "gap by chromosome breakage" in chromosomes that have loose parts between centromere and telomere. It seems demethylation of zebularine occurs chromosome breakage.

• Journal of the Korean Institute of Landscape Architecture
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• v.44 no.6
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• pp.162-176
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• 2016

The experience and play activities in forest spaces have played an effective role in children's growth and development, therefore, many studies and projects related to forest activity space have progressed actively. However, the focus of previous research has been merely on the effectiveness of forest activity but little on providing the basis for the spatial design of these types of forest activity spaces. Thus, this study aims to identify the relationship between children's developmental play activity and the physical characteristics of forest activity spaces for evidence-based design. First of all, indicators for Cognitive-Social play(CSP) was selected and forest spaces were categorize into play facility spaces and forest spaces. More detailed environmental characteristics of each space were 'play area' and 'paving materials' for play facilities and 'density of tree and shrub', 'slope', 'paving materials' and 'fixing and type of natural loose parts' for forest space. Through environmental inventory and behavior observation, the types of play behaviors and the occurrence frequency of children aged four to five were collected and analyzed. The results were as follows: 1) In play facility spaces, play behaviors occurred at a high frequency at the facility playground with play facilities and sand area. In terms of CSP, functional-solitary and functional-parallel plays occurred predominantly. 2) In forest spaces, various play behaviors occurred at high frequency in the environment with low density planting and various natural loose parts. For CSP, functional-group and symbolic-group plays occurred at a high frequency. 3) Symbolic-group play appeared to be highly affected by environmental characteristics like tree area of scatter density or less, 10~20 degree slope, and the presence of fixed large stumps. In conclusion, this study provides standards of physical environmental characteristics for forest activity space design through direct observation and analysis of children's play behaviors.

• Korean Journal of Heritage: History & Science
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• v.45 no.1
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• pp.122-147
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• 2012

The Four-guardian statues in Song-gwang buddhist temple, Suncheon, Korea, have been remade in AD 1628 and have been repaired and repainted over several times since then. Therefore, the study of the pigments applied on the statues can provide good chance for investigation about pigments used in the late Chosun Period. Pigments on fragments from Gwang-mok(Virupaksha), one of the Four-guardian statues, have been analyzed by optical microscope, SEM-EDX and XRD in order to identify the components and compounds. Six types of materials were found from the fragments, which are soil layer with brown clay band, soil layer containing a lot of fibers, Korean paper with loose texture, Korean paper with dense texture, silk, and hemp textile. Presumably, the soil layer which have brown clay band is basis layer and the other layers are repaired layers. From comparative study for the components of the pigments, applied on upper and lower parts of the repaired layers, we have concluded that those repaired layers had been applied on the statue by the following order; basis layer ${\rightarrow}$ Korean paper with loose texture ${\rightarrow}$ soil containing a lot of fibers ${\rightarrow}$ silk ${\rightarrow}$ hemp textile and Korean paper with dense texture. In addition, the years that those materials were applied on the statue have been estimated as 1720~1891, 1926, 1946 and 1976, respectively. The distinct features of each age are as the following; lead white and copper chloride hydroxide are major white and green pigments before 1891, zinc white, barium white, emerald green, and ultramarine blue appear after 1926 and titanium white uprises around 1976. Our result presented here, study on pigments applied on traditional statues over several different periods, will provide good database for future study on pigments used for traditional painting in Buddist temples and Dancheong.

• The Research Journal of the Costume Culture
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• v.8 no.3
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• pp.387-410
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• 2000

The purpose of this study was to approach to the internal meanings included in the Happening and the culture of hippies, by analysing the basic mental conditions in the process of the Happening. And this study was composed of the concept and the development of Happening, the characteristics of the hippies that related in the midst of the happening's background, and the formativeness between these factors and hippies'fashion. Since the happening a genre of fine arts expression attended the New School for social research in New York in 1954, Allan Kaprow direct-influenced by John Cage used the word 'Hapening'first, practicing '18 Happenings in 6 parts'at the Rueben gallery in 1959. Kaprow's 18 Happenings was one of the earliest opportunities for a wider public to attend the live events that several artists had performed more privately for various friends. Despite the very different sensibilities and structures of artist's works, artists were all thrown together by the press under the general heading of 'Happening', following Kaprow's 18 Happenings. Being considered as the root of the Happening 'Expression of Sound'of John Cage was the discovery of the exisiting thing- the Happening. Most artists were to be deeply influenced by Cage's theories and attitudes-that is, his sympathy for Zen Buddihism and oriental philosophy-and by reports of the Black Mountain events. These events would directly reflect contemporary painting and stemmed from the Futurists, Dadaists and Surrealists. And Happening's development background was based on the culture of hippies. Swinging London had been under the sway of psychedelic drugs and utopian visions of 'hippie'wave sweeping in from Califonia. This wave, which affected solid middle-class youth first and formost, began in Haight Ashbury in San Francisco. Without dwelling on the hippie movement here, it is worth nothing that it resulted from the convergence of several undercurrents : consciousness-expending drugs, the anti-Vietnam war developments, the impact of English pop groups on American music and the rise of protest songs, and finally the beatnik tradition of non-conformism. Hippie culture and its pursuit of love, peace and psychedelia was the antitheses of 1960s main street fashion. The media gave everyone with long hair the label of 'hippie', but it was always a very loose collage of attitudes and styles. The rejection of sexual taboos was conveyed by the hippie's refusal to wear. Although the bold exposure of body raised controversies because it went against the existing moral values, it has a significant implications. Psychedelics brought mind-expansion and the possibillity that modern technology (light show, synthesized electronic sounds), new fabrics or colors, and LSD could be utilized to provide an escape route from the dreariness of modern life. During the 1960s, traditional costumes, many of which had never been seen outside their native regions, became sought after and adopted in the West, initially by the young, who wanted to demonstrate their solidarity with cultures uncontaminated by mass industry. The most ardent proponents of such folk costumes were the hippies. Hippies dress was sometimes decribed as 'anti-fashion', produced by a patchwork of ragged cast-offs and flamboyant accessories, of outmoded Western dress and time-honored ethnic garments all combined, modified and permutated into variety of personal statements. 'Flower Power'became a reality. From the results of this study, we can see the expanding trend of the influence and the concept of the sew art genre 'Happening'in the formativeness as well as the fine arts field.

• Journal of Fashion Business
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• v.8 no.2
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• pp.69-90
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• 2004

The purpose of this study is to find the recognition of Korean image fashion design by U.K fashion specialists. U.K is one of the important countries in design field including fashion design since 1960. For this purpose, literature research and focus individual interview research were carried. First, through the researches precedent, it was found that a national image is related with it's design industry and what is Korean image fashion design, were studied. Second, for individual interviews to 13 U.K fashion specialists, who are teaching and researching in University that has postgraduate course over M.A and had industrial experiences from 7years to 22years, were progressed using open questions and visual image stimulus. The open questions were consisted with four parts : personal educational and industrial background, recognitions about oriental fashion, recognitions about Korean image and Korean fashion design before seeing the visual stimulus, recognition about Korean image fashion design and the characteristics of Korean after seeing the visual stimulus. The results are as follows; First, the 12 U.K specialists have recognized 'oriental fashion' is one of important fashion trends now a days. Japan and Japanese designers are recognized as a represented nation and designer in oriental fashion by them. Two of the specialists referred to need changing the term 'oriental' because the term has been used in the sights of western from colonial age and Japanese is not included the oriental any more. Secondly, 11 interviews have recognized nothing about the Korean national image some of them has negative image due to political situation in Korean Peninsula. However 2 interviews who had been Korea before has positive image. In the questions about Korean fashion and Korean fashion designers, 10 of 13 interviews have nothing and negative recognitions. So it was founded that Korean fashion design was recognized as a lower level by U. K. fashion specialists. Thirdly, in the questions about Korean fashion image and the design characteristics of Korean fashion after seeing the visual stimulus, the response was represented two directions. One is about over decorative image through ethnic design and the other is about simple image differ from Japanese. The 13 interviews felt the Korean Image fashion design such like traditional, decorative, opulent, flat cutting, fresh proportion, loose, layering, natural, simplicity, complicate, adventure, easy, stylish, soft, feminine, young image, adult sexy image. The images were analyzed five image groups : adult sexy image, adult ethnic image, natural image, young avant-garde image, young simple casual image. No one preferred the adult sexy image, adult ethnic image and natural image. However 10 interviews preferred young avant-garde group and 13 interviews preferred the young simple casual image. So this group can be understanded and useful informed as one of competitive power in global fashion industry.

• Journal of Welding and Joining
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• v.34 no.2
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• pp.1-10
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• 2016

The use of materials for modern lightweight auto-bodies is becoming more complex than hitherto assemblies. The high strength materials nowadays frequently used for more specific fields such as the front and rear sub frames, seat belts and seats are mounted to the assembled body structure using bolt joints. It is desirable to use nuts attached to the assembled sheets by projection welding to decrease the number of loose parts which improves the quality. In this study, nut projection welding was carried out between a nut of both boron steel and carbon steel and ultra-high strength hot-stamped steel sheets. Then, the joints were characterized by optical and scanning electron microscope. The mechanical properties of the joints were evaluated by microhardness measurements and pullout tests. An indigenously designed sample fixture set-up was used for the pull-out tests to induce a tensile load in the weld. The fractography analysis revealed the dominant interfacial fracture between boron steel nut weld which is related to the shrinkage cavity and small size fusion zone. A non-interfacial fracture was observed in carbon steel nut weld, the lower hardness of HAZ caused the initiation of failure and allowed the pull-out failure which have higher in tensile strengths and superior weldability. Hence, the fracture load and failure mode characteristics can be considered as an indication of the weldability of materials in nut projection welding.

• Journal of the Earthquake Engineering Society of Korea
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• v.13 no.4
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• pp.1-13
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• 2009

Liquefaction is a significant threat to structures on loose saturated sandy soil deposits in the event of an earthquake, and can often cause catastrophic damage, economic loss, and loss of life. Nevertheless, the Korean peninsula has for a long time been recognized as a safe region with respect to the hazard of liquefaction, as the peninsula is located in a moderate seismicity region, and there have been no reports of liquefaction, with the exception of references in some historical documents. However, some earthquakes that have recently occurred in different parts of the world have led to liquefaction in non-plastic silty soils, a soil type that can be found in many of the western coastal areas of Korea. In this study, we first present procedures for evaluating the liquefaction potential, and calculate the liquefaction potential index (LPI) distribution at two western coastal sites using both piezocone penetration test (CPTu) data and standard penetration test (SPT) data. The LPI is computed by integrating liquefaction potential over a depth of 20m, and provides an estimate of liquefaction-related surface damage. In addition, we compared the LPI values obtained from CPTu and SPT, respectively. Our research found that the CRR values from CPTu were lower than those from the SPT, particularly in the range between 40 and 120 for the corrected tip resistance, (qc1N)CS, from the CPTu, or in the range of CRR less than 0.23, resulting in relatively high LPI values. Moreover, it was observed that the differences in the CRR between the two methods were relatively higher for soils with high fine contents.

• Journal of the Korean Society of Costume
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• v.26
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• pp.175-206
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• 1995

The costume culture of China is as old and varied as her long history. As China is a multiracial nation and consists of fifty-six min-ority races including Han race, there are not only fifty-six different costumes in China but each races' costume habit is very different. Therefore, Chinese penninsula can be considered an enor-mous exhibition center of the costumes. This study undertook on the assumption that the costumes' mainstream of Korea and east-northern Asia as well as that of China could be examined by investigating the minority races' costumes in the east-and west-northern areas of China. The process of evolution of the costume of a particular people, country or area is subject not only to constraints related to geography such as climate, topography or local products but is also affected by numorous environmental influences including cultural, economic, social and even pol-itical ones in terms of the selection of material, styling, color and standard of tailoring. In other words, things like philosophy of life, religious be-lief, aesthetic outlook, moral code, class system, degree of affluence, and cultural exchange will all be reflected directly or indirectly by features of a people's or country's style costume. Of course, there are several factors affecting to the style of costume of the minority people in China. However, the only three factors-geo-graphical and environmental, production method, and religious belef-will be touched in this study. First of all, the geograghical and eenviron-mental factor would be the decisive one because the costume should be designed to overcome the constraints of climate and geographical environ-ments. Accordingly, each race has an unique style of costume. The costume of the minority races in the northern parts are loose and wide, and made of warm furs. For instance, Mongolian robe has the quality of anti-wind, anti-cold and warmness, and the width of a sleeve is narrow and long. Secondly, the costume style can be said to be limited by the production pattern, when the geo-graphical environment was affected to decide the costume style, the production pattern was together affected to it . In case of Mongolian robe, they should satisfy the dual condition as the practical function. One is the condition that they should be fitted to the climate, and the other is the condition that they should be suit-able to the nomadic life. Mongolian robes are suitable to the nomadic peoples because they are designed for not only overcoming the cold wind and weather but being used as the bedquit at night. The costumes of Hoche people was made of the skin of the fish and wild animals because of their main means of living being fishing and hunting. Accordingly, their costumes are dur-able, warm and water-proof. Finally, the style of the costume is affected by the religious belief. In other words, the pattern in fashion is closely related with the religious be-lief or ancestor worship and nature worship. Ac-cordingly, the symbols of these worship are often emerged in the decoration of the costume. The design of costume of the people in the northern areas of China is very simple. It is related with their monotheism. On the other hand, the costumes of twen쇼 minority races in the east-northern parts of China can be devided into three racial groups such as the long robes of Man people and Mongols, Tunics of the peoples in the west-northern areas, and the pants and jackets of Hoche people. The minorority races all has not only the unique costume habit but their costumes are also related with their living style and production means.

• Horticultural Science & Technology
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• v.30 no.5
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• pp.543-548
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• 2012

Morphological characters of Baemoochae, xBrassicoraphanus are mostly intermedium of the both parents, Chinese cabbage, Brassica rapa ssp. pekinensis and radish, Raphanus sativus. The upper and lower parts of the leaf resemble the shape of Chinese cabbage and radish, respectively. The midrib of the leaf is round like to that of radish, but very big more than 3 cm in diameter and white in color like that of Chinese cabbage. The root was changed from the swollen type like that of radish to the enlarged taproot like that of the land race of Chinese cabbage after attaining genetical stability. The flower is white. The seed pod is divided into 2 different parts; the upper part is radish and about 4 cm in length and holds 3-4 seeds and the lower part is Chinese cabbage and about 3 cm in length and holds 7-8 seeds. The color of seed is brown, weight per 1.000 seeds is 5.5 g and the number of seeds per mL is 120. The matured plant in the fall season is around 5 kg in weight and outer leaves are very vigorous and stiffly and inner leaves are erect and form a loose head. The leaf and the root contain a high level of sulforaphene which is well known as a functional substance for anti-cancer and anti-super-bacteria. Baemoochae is an amphidiploid and does not have the self incompatibility function. It has a high level of cross compatibility with Chinese cabbage as the female parent, but not the male parent. It is cross incompatible to cabbage, B. oleracea, black mustard, B. nigra and radish. However it is highly compatible to oil seed rape, B. napus, yellow mustard, B. carinata and partial compatible to muatard, B. juncea in the reciprocal cross.

• Sijohaknonchong
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• v.42
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• pp.7-28
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• 2015

This article defines sijo's musicality in two ways and verifies how musicality is shown in modern sijo with some examples. First, the first metre of a song's fourth part, that is, the sijo's jongjang, should include a reverse of its poetic image. A song consists of five parts. Each part is sung as a part of the song, that is, the sijo's dimetre, trimetre, or tetrametre, but its fourth part is sung as the monometre which is the first metre of its jongjang. This is because the first metre of a sijo's jongjang forms the axis of the reverse in its poetic image, and when this works properly, it can maintain musicality as a sijo. Second, a sijo's tetrametre and sijo-chang's gak should correspond as the same value along with the completion of its meaning. If a sijo does not keep the metre, each part's completion of meaning and also the sijo-chang's gak become problematic, so it is impossible to perform sijo-chang. Only when each part's completion of meaning and the gak of the metre correspond to each other as the same value, the sijo can maintain its musicality. Next, the study verifies how musicality is shown in modern sijo. This was examined through the examples of gyeol-metre and yangjang-sijo in dan-sijo that cannot form any tongsa madi, arrangement of syllable units beyond metres, or the examples of loose reverse of meaning in a transitional phrase. The two kinds of musicality presented by this author have already been proved with old sijo. However, modern sijo has been created mainly centering around its image, so such musicality has been ignored and sijo's identity has been damaged seriously. In sijo, musicality gives life. If modern sijo is created mainly around its image, it can never be called as sijo unless it has musicality. Although modern sijo is not performed as music, it should be equipped with the form to be performed as a chang. This is how sijo can maintain its musicality. It is thought that now is the time to recognize modern sijo as the matter of communication between sijo-chang and sijo literature, not just as the combination of sijo-chang and sijo literature.