• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.3
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• pp.40-51
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• 2011

The purpose of the study was to understand the symbol and locational meanings in building and relocating Gwangje-jeong(光霽亭) through the analysis and interpretation on the construction background, history, the location and its characteristics. Concerning physical environment, human activities, the symbol and meanings of the formal Gwangje-jeong site and the present location, the study was concluded about the site and its meaning of tradition as following. Gwangje, the name of the pavilion, represents the fidelity of Maedang(梅堂) Yangdon(楊墩) who refused as Seonbee(a man of virtue) to be tainted with the corrupt world, which was related with the situation at that time. It implies Maedang's feeling of realizing Noojeongjeyong(樓亭題詠) of Gwangje-jeong along with the high spirit of Gwangpoongjewol(光風霽月). According to the record about rebuilding Gwangje-jeong, Maedang was the very person who planted plum flowers at the pavilion and put up the tablet of its name, Gwangje. Even after his death, Gwangje-jeong was the symbol indicating Yangdon, given the triple high ground and the planting of plum flowers. Also, Sookho(宿虎) town at the entrance of Gwangje-jeong and Bokhoam(伏虎巖: a rock) at the right side of the pavilion signifies the location for praising Maedang Yangdon, and the Yangjipha's Oensi(五言詩: five words verse) engraved on the rock gives a good description about the place, Agyesa that worshiped Yangdon. As Agye-Sa(阿溪祠) where Yangdon was worshiped and praised had been abolished in the 5th year under the Kojong's reign(1868), the spirit praising Maedang had finally been used for the relocation of Gwangje-jeong. Despite the relocation of Gwangje-jeong, the old Gwangje-jeong site has remained at least for 359years at Hucheonli, and its surroundings have maintained the name 'Gwangje' as the front place name morpheme, for example, 'Gwangje-jeong,' 'Gwangje Town,' 'Gwangje Bridge' and 'Gwangje Creek,' for symbolizing the praising of Maedang. Gwangje-jeong, as the center place of solidarity among Namwon Yang's family clan, has been able to maintain its symbol and meanings in spite of relocation, mainly because of the fellowship among the descendants, family clan and alumni who respected virtuous achievements of ancestors and shared the agony of the time. In addition, the symbolism has been preserved since the spirit of Gwangpoonjewol of Yangdon and his high character were cherished along with the spirit of Bongseon(奉先) that inherited and kept virtuous achievements of ancestors.

• Journal of Korean Society of Forest Science
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• v.100 no.4
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• pp.591-597
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• 2011

Forest carbon stock changes in a national forest were assessed by CBM-CFS3 model with different management scenarios to support decision making for a long term forest planning. Management scenarios were composed with 4 different levels of timber harvesting - current harvesting level (scenario1), 30% increment in each period (scenario2), 3 times increment (scenario3), and 5 times increment (scenario4). For each scenarios, changes in total carbon stocks, carbon stocks of each carbon pools, carbon stocks of harvested wood products (HWP) and age class structure were estimated over 100-year planning horizon. The estimated total carbon stock including HWP at the end of final period (100 years) was 433.1 tC/ha under scenario 1, but the age class structure has skewed right to the upper classes, which is not desirable for sustainable forest management. Under the scenario 4, however, the total carbon stock decrease to 385.5 tC/ha and the area of old growth forest show a significant decline. The estimated total carbon stock under scenario 2 and 3 were 411.7 tC/ha and 410.5 tC/ha respectively, and it was able to maintain the initial level of the forest carbon stocks during the planning horizon. Also the age class structures under the scenario 2 and 3 were evenly distributed from class 1 to class 8. Overall, scenario 2 and 3 were the most acceptable forest management options, in terms of carbon stock changes and age class structure.

• The Journal of the Convergence on Culture Technology
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• v.8 no.2
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• pp.227-234
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• 2022

Seok Jeon Hwang Wook (18913~1999), a descendant of a traditional literary writer in the western part of Honam, did not join the flow of modern and contemporary calligraphy and painting. And throughout his life, he enjoyed himself without losing the appearance of a scholar, immersed himself in traditional calligraphy, and gained spotlight at his late age for his original hand grabbing calligraphy. Immediately after the Korean War, all of his property was lost due to his two sons' left-wing activities, causing great pain at home. Even in the most painful and difficult time in human history, he relied on brushes, poetry, and gayageum to keep his upright scholarly spirit and national love. And beyond the pleasures of the worldly senses, he played with self-satisfaction in the 'true pleasure(大樂)' without greed. In the course of his studies, he focused on honing the fonts of Wang Hui-ji, Gu Yang-sun, An Jin-gyeong, Jo Maeng-bu, and Xin-wi and Lee Sam-man without a special teacher. In particular, he faced a crisis of having to give up his brush due to tremor that came after his 60th birthday, but he showed a strong will. He transformed it into a new style of art, such as developing hand grabbing calligraphy(握筆法) with a strong and strong energy that no one could match. From 1965 to 1983, 'right hand grabbing calligraphy' was used, and from 1984 to 1993, 'left hand grabbing calligraphy' was used. She made her name as a calligrapher widely known in 1973 (age 76) with her first solo exhibition, The Calligraphy Exhibition commemorating her 60th wedding anniversary. His writing method is naturally rough and sloppy by breaking away from the previous calligraphy methods and artificial technique, and is unfamiliar yet full of muscle. And the calm, strong and rough chuhoegsa(錐劃沙) and the heavy yet majestic ininni(印印泥) individual handwriting expressed a strange feeling and achieved original Seokjeon calligraphy that went beyond the existing calligraphy writing methods, and his indomitable calligraphy spirit was As a unique existence in the history of calligraphy, he still remains as a model.

• Journal of Ginseng Culture
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• v.4
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• pp.38-58
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• 2022

Park Wan-seo's novels deal with realistic topics of society, such as women's issues, the capitalist system, and the problems that come with old age. Assuch, her work is used as a tool to analyze social phenomena in various fields, such as women's studies, sociology, and literature. A characteristic style of Park Wan-seo's novels is that she bases them on her own experiences. However, among her novels, the novel Mimang is exceptional. The plot is based on stories that have been passed down from generation to generation. This is to show the spirit of the times through the unforgettable story of her hometown, Gaesong. Mimang is the story of a family chronology that spans four generations centered on Chun Cheu-Man and his family, who became powerful capitalists through the cultivation and commerce of ginseng cultivation. Set in the late 19th century until the end of the Korean War, the novel unravels the essence of the times symbolized by merchants of ginseng and Gaeseong, focusing on the actions of people living in a period of historical turbulence. Gaeseong is the mecca of Korean ginseng, and Gaeseong cannot be portrayed without the story of ginseng and its merchants. Therefore, Mimang, a fictionalized story based on real facts, contains valuable testimony of the history of ginseng, not only as historical values of modern history and personal customs but also as microhistory. In the novel, traces of the times of Gaeseong and the spirit of ginseng merchants, as shown in the Japanese sacking of ginseng during the colonial period, the resistance of ginseng merchants, and the conversion of ginseng capitalism to modern capitalism, are imprinted like fossils. What is especially meaningful is that the stories in the novel correspond to historical facts and constitute a chapter in the history of ginseng. The symbolism of ginseng in the novel can be explained in three main ways. First, it shows the essence of Korean ginseng. It reveals the soul of ginseng through the sincerity and rigor of ginseng farming, as well as the spirit and pride of ginseng. Second, it symbolizes the exploitation of ginseng in Japan as a national issue. The efforts of ginseng merchants to protect this and support the independence movement are presented as important themes to express nationalism. Third, it shows the modern capitalist progressiveness of Gaeseong ginseng merchants, who do not stay in landownership and commercial capital, but convert them to productive capital and contribute to society by modernizing them. The three symbolisms show the spirit of the times of the Gaeseong ginseng merchants, clearly revealing the meaningful relationship between the Korean people and ginseng.

• Journal of Bio-Environment Control
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• v.31 no.1
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• pp.28-34
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• 2022

This study was conducted to determine the changes in ginsenosides content according to additional UV-A, and UV-B LED irradiation before harvesting the ginseng sprouts. One-year-old ginseng seedlings (n=100) were transplanted in a tray containing a ginseng medium. The ginseng sprouts were grown for 37 days at a temperature of 20℃ (24h), a humidity of 70%, and an average light intensity of 80 µmol·m^-2·s^-1 (photoperiod; 24h) in a container-type plant factory. Ginseng sprouts were then transferred to a custom chamber equipped with UV-A (370 nm; 12.90 W·m^-2) and UV-B (300 nm; 0.31 W·m^-2) LEDs and treated for 3 days. Growth parameters and ginsenoside contents in shoot and root were conducted by harvesting on days 0 (control), 1, 2, and 3 of UV treatments, respectively. The growth parameters showed non-significant differences between the control and the UV treatments (wavelengths or the number of days). Ginsenoside contents of the shoot was highly improved by 186% in UV-A treatment compared to the control in 3 days of the treatment time. The ginsenoside contents of the roots was more improved in UV-A 1-day treatment and UV-B 3-day treatment, compared to the control by 171% and 160%, respectively. As a result of this experiment, it is thought that UV LED irradiation before harvesting can produce sprout ginseng with high ginsenoside contents in a plant factory.

• Journal of Applied Biological Chemistry
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• v.64 no.4
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• pp.453-463
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• 2021

This study investigated that comparison of the nutrients (including fatty acids, amino acids, and minerals) and ginsenoside, total phenolic (TP) and total flavonoid (TF) contents and antioxidant activities in 5-year-old cultivated ginseng (CG), mountain-cultivated ginseng (MCG), and whole plant parts of MCG (WPMCG). The contents of total fatty acids and unsaturated fatty acids were determined highest in MCG (1215.9 and 751.2 mg/100 g), and saturated fatty acid was determined highest in WPMCG (486.4 mg/100 g) respectively. Characteristically, the α-linolenic acid content was detected up to 10 times higher in MCG (139.3 mg/100 g) and WPMCG (194.4 mg/100 g) compared to CG (18.1 mg/100 g). Total free and essential amino acid contents were high with CG < MCG < WPMCG (1006.35 mg/100 g and 839.46 mg/100 g). Notably, γ-aminobutyric acid and arginine were detected as the main non-essential amino acids with highest levels detected in WPMCG (163.10 mg/100 g) and MCG (305.23 mg/100 g), respectively. Total mineral content was high in CG (30.36 mg/100 g) and WPMCG (29.82 mg/100 g). Particularly, Calcium (Ca) was detected more than twice as high in WPMCG (6.68 mg/100 g) as compared to CG and MCG. TP and TF contents were 5.12 gallic acid mg/g and 3.04 RE mg/g respectively. Ginsenoside content was the highest in WPMCG (42.44 mg/g) in general and the highest antioxidant activity was also observed in WPMCG.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.39 no.1
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• pp.37-42
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• 2021

Munseom (Island) is known as the largest native Elaeocarpus sylvestris var. ellipticus in Korea. Recently, disease damage from the E. sylvestris var. ellipticus community has been reported in Munseom. This study was conducted to understand the damage situation and growth characteristics of the E. sylvestris var. ellipticus population in Munseom. The purpose of this study was to evaluate the spontaneous regeneration potential of the community by grasping the characteristics of the population of surviving E. sylvestris var. ellipticus individuals, and to discuss ways to restore native habitats. A total population survey was conducted to determine the distribution status of E. sylvestris var. ellipticus individuals. The field survey carefully recorded the height of tree, DBH, DRH, and growing status, along with GPS location information of the individual. The growth status of E. sylvestris var. ellipticus individuals distributed in Munseom and the characteristics of tree height, DBH, DRH of each individual were analyzed. The total number of E. sylvestris var. ellipticus populations identified in Munseom was 293. The dense E. sylvestris var. ellipticus community reported in 2005 has been identified as being greatly damaged or damaged. In particular, the damage was more serious in mature trees with a height of 6m or more forming the canopy layer in the forest, and it was confirmed that 80.6% of the mature trees died. In the growth characteristics of the old-growth tree, which is an indicator of the health of the forest based on DRH, 75.4% died or the growth condition was found to be poor. In order to restore the native habitat of E. sylvestris var. ellipticus in Munseom, conservation efforts such as pest control, preservation of mature trees, control of the territory of young trees, and reintroduction after ex-situ transplantation etc. are considered necessary.

• Industry Promotion Research
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• v.7 no.1
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• pp.35-42
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• 2022

The purpose of this study was to establish an Improvement Plan to determine the cause of the abuse occurred for the elderly who live in urban areas, and analyzed by type. This study was conducted to survey targeted the more than 65-year-old man as the center of Seoul Mapo area. The independent variables in the research model is elder abuse causes, the sociological characteristics as control variables population was the dependent variable in the elderly abuse. As a result; First, investigate the differences in the cause and the cause of elder abuse according to demographic characteristics. The causes of elder abuse, age of the higher age group showed high levels of elder abuse causes. Showed that less than a high school education than graduate school. Second, investigate the factors influencing the occurrence of elder abuse experiences of the subjects. Personal factors of elder abuse causes of those surveyed, family environmental factors, social, and refers to the result that the higher the level of cultural factors increase the occurrence of elder abuse experience. Third, investigate the differences in the cause and the cause of elder abuse according to demographic characteristics. The causes of elder abuse, age of the higher age group showed that the level of elder abuse occurs and causes high experience. Fourth, investigate the factors influencing the occurrence of elder abuse experiences of the subj ects. This personal factors of elder abuse causes of those surveyed, family environmental factors, social, and refers to the results of the higher levels of cultural factors that increase the occurrence of elder abuse experience. In conclusion, elder abuse is personal factors, environmental factors, family, social and cultural factors, the higher the level can be seen that type of elder abuse Elder abuse occurs, formed by many, accordingly. Therefore, in order to improve elder abuse should be healing the cause according to the type of elder abuse appears essentially as a result from this research.

• (The) Research of the performance art and culture
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• no.39
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• pp.669-700
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• 2019

Farmers' band music is a religious ritual in Korea. It is a solemn ritual to exhibit the auspicious holiness of the people to the God. Most of the ritual is accomplished by music. The music of the farmers 'band, in this sense, has its meaning as the expression of holiness by sound. In this paper, I will explore the principle to make various rhythms of farmers' band music, especially focusing on the chaegut (lit. "stroke music"). It is very symbolic because the name of the music shows the strokes of the gong, called jing, in a rhythmic phrase. In this sense, the chaegut is man-made music based on the specific principles in accordance with the strokes of the gong. Among many chaegut rhythms, samchae (lit. "three strokes") to chilchae (lit. "seven strokes") are the main rhythms. They were made after the principle of 'forward with drums, backward with gongs' in Five way procession. It the basic principle of military procession from the early Joseon Dynasty. The procession follows with the sound of the drums and gongs. There was always a principle of "five strokes" to control the procession. The "five strokes" became the basis of the making of chaegut rhythms. The rhythms of the samchae to chilchae are based on the rhythm of samchae. The samchae has three gong strokes in a cycle, which exhibits the chaotic moment with the rhythmic noise. The name of the rhythm exhibits the correspondence of the signifiant, that is the name "three strokes" and the signifié, that is the real three strokes of gongs in music. Other four rhythms has made up from the samchae with half cycles are added in accordance with the strokes of the gongs. In this way, the chaegut shows the principle of "five strokes" in the military procession. The rhythm of ochae jilgut is a mixture of ochae (lit. "five strokes") and jilgut (lit. "road music") which is usually performed on the road to a mountain shrine. The musical structure of ochae jilgut corresponds to the colotomic structure of Southeast Asian music and the 15th-century music of old musical scores. The rhythm of gilgunak chilchae is a mixture of gilgunak (lit. "road military music") and chilchae (lit. "seven strokes"). The rhythmic structure is similar to other regional music, sijo ("short song") of the literati music and norae garak (lit. "some melody") of the shaman music. In sum, the chaegut is very artistic music made from the military procession of the Joseon Dynasty. The name of the rhythm corresponds with the strokes of the gong in a cycle. In this way, the chaegut shows the principle of music-making to exhibit the ritual characteristics of the Korean people.

• Journal of Digestive Cancer Research
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• v.1 no.1
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• pp.53-57
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• 2013

There is no established treatment for esophageal carcinoma with metastasis. For the metastatic esophageal squamous cell carcinoma, chemotherapy or best supportive care according to patient's performance status are accepted as an available treatment. We report a case of complete remission after concurrent chemoradiotherapy for esophageal squamous cell carcinoma with metastatic lesion in 5th thoracic vertebrae. A 57-year-old man with ongoing dysphagia and weight loss was admitted to our hospital. On the endoscopic and radiologic imaging evaluation,the patient was diagnosed as a squamous cell carcinoma of esophagus with solitary metastatic lesion in 5th thoracic vertebrae. The patient was treated with combination chemotherapy (5-fluorouracil (5-FU) and cisplatin) and concurrent radiotherapy for two months to relieve dysphagia. Because metastatic lesion in thoracic vertebrae was located near the primary esophageal tumor, the metastatic lesion could be included within the radiation field. After concurrent chemoradiotherapy, consecutive 4 cycles of chemotherapy had been carried out. Primary esophageal tumor with metastatic lymph nodes and metastatic lesion in 5th thoracic vertebrae disappeared on follow up computed tomography (CT) and positron emission tomography-CT (PET-CT). Follow up endoscopic biopsy revealed no remnant malignant cells at previous primary cancer lesion.