• Journal of Hospice and Palliative Care
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• v.22 no.3
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• pp.105-116
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• 2019

Purpose: Pediatric palliative care (PPC) is emphasized as standard care for children with life-limiting conditions to improve the quality of life. In Korea, a government-funded pilot program was launched only in July 2018. Given that, this study examined various PPC delivery models in other countries to refine the PPC model in Korea. Methods: Target countries were selected based on the level of PPC provided there: the United Kingdom, the United States, Japan, and Singapore. Relevant literature, websites, and consultations from specialists were analyzed by the integrative review method. Literature search was conducted in PubMed, Google, and Google Scholar, focusing publications since 1990, and on-site visits were conducted to ensure reliability. Analysis was performed on each country's process to develop its PPC scheme, policy, funding model, target population, delivery system, and quality assurance. Results: In the United Kingdom, community-based free-standing facilities work closely with primary care and exchange advice and referrals with specialized PPC consult teams of children's hospitals. In the United States, hospital-based specialized PPC consult teams set up networks with hospice agencies and home healthcare agencies and provide PPC by designating care coordinators. In Japan, palliative care is provided through several services such as palliative care for cancer patients, home care for technology-dependent patients, other support services for children with disabilities and/or chronic conditions. In Singapore, a home-based PPC association plays a pivotal role in providing PPC by taking advantage of geographic accessibility and cooperating with tertiary hospitals. Conclusion: It is warranted to identify unmet needs and establish an appropriate PPD model to provide need-based individualized care and optimize PPC in South Korea.

• The Korean Journal of Archival Studies
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• no.24
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• pp.3-40
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• 2010

In recent time, archival science has been in charge of positively preserving and handling with valuable things, as well as managing established ones, However, even though several archival methodologies that manage contexts among tasks, organizations and subjects exist nowadays, there is a lack of theoretical methodology on archiving focusing on valuable things. In this sense, this article dealt with a theoretical methodology which carries out archiving valuable things and represents it based on the value of records. Also, this paper, which covers a methodology that carries out archiving and representing one focusing on the value of the one to preserve, is divided into three chapters: putting in, managing, and viewing. To begin with, in the chapter of purring in, the methodology of documentation based on a strategy to distinguish and represent the value of the valuable things were explained. In addition, the article tried to explain the definition of how the valuable things based on the value of it can be put in, and presented how to divide the one for representation into the objet and the activity so as to provide an effective approach. At the same time, as this paper took an approach to the value of the one, it proposed a way to be able to do archiving effectively by applying a representation unit which has its own value. Secondly, in the chapter of managing, representation class and metadata for managing with a representable structure was considered. Metadata categories were illustrated in order to present the class from individual records to final representation valuable things and to make representation with ease. Furthermore, in the chapter of viewing, the process of representation using theoretically archived records was explained. In fact, viewing is the descriptive domain in general, yet this paper focused on the conceptional part. As a consequence, in this paper, a series of process was considered, which starts from how the subject of representation was archived to managing it. Moreover, the process has a meaning by itself in that it gives a practical method to be applied. Finally, the paper suggested that the argumentation on representation be expanded in the field of archival science so as to present theoretical grounds in this sort of work.

• (The) Research of the performance art and culture
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• no.32
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• pp.71-106
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• 2016

This study analyzes the current work of the traditional theater around 'Back Parkcheomji(season2)' of theatre troupe 'Saninomou'. 'Back Parkcheomji(season2)' has proved that it is possible modernization while at the same time preserving the traditional theater. As a result, 'Back Parkcheomji(season2)' regained the spirit of contemporary social criticism and reality inherent in Kokdugaksinorum. The performance are beyond the traditional production method, which has created a new performance aspects. 'Back Parkcheomji(season2)' has created the puppets like this 'Kimga' 'Seweolho' 'Ryukbang' 'Chourani'. Traditional and creative dolls has criticized our modern society at the same stage. On the other hand, plays such as tightrope, Pungmul, Burna confirmed the spirit of Namsadangpae, and gave a dramatic fun. 'Back Parkcheomji(season2)' has dual stage. The dual stage will produce a magnificent spectacle, and has provided a variety of attractions. 'Back Parkcheomji(season2)' re-created the traditional theater of Namsadangpae in vivid contemporary version. The performance has made the opportunity to think again about the value of classical and allowed to recognize the new phase of classical theater.

• Journal of the Korean Society of International Agriculture
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• v.30 no.4
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• pp.370-375
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• 2018

In order to promote the mechanized cultivation of perilla for seed, which has been increasing in cultivation area and production recently as demand increases according to the health-functional effects, we carried out this experiment to determine the optimum sowing time of perilla to minimize the seed loss at harvest and increase the yield. We used two different types of perilla varieties, 'Sodam(small-branch)' and 'Deulsaem(multi-branch)', and the sowing time was June 15, June 30, July 15 and August 1. As the sowing time is late, days of growth from sowing to flowering were shortened, and they were shortened from 14, 26 and 31~32 days on June 30, July 15 and August 1 as compared with June 15, respectively. And, the stem length and culm diameter were shortened or tapered and the number of nodes tended to decrease. The number of effective branch was 82%, 61% and 56% on June 30, July 15 and August 1 as compared with June 15, respectively. Accordingly, it seems to make against in securing the yield from July 15. And, the lowest cluster height was generally shorter as the sowing time is late, and the height was below 15cm on July 15 and August 1. It seems that this may work against the machine harvest. There was a high degree of significance between the sowing time and the yield. Although, the total yield was not statistically significant among June 15, June 30 and July 15, the ratio of shattering seed at harvest was in order of July 15, August 1(30.3%)> June 15(15.3%)> June 30(13.5%). Therefore, the net yield except for shattered seed was higher in order of June 30${\geq}$ June 15> July 15> August 1. This tendency was characteristic regardless of variety and sowing method. And, the protein content in perilla seed increased as the sowing time was delayed, and the content was the highest on August 1. The content of crude fat was relatively high on June 15 and July 15 in 'Sodam', and June 30 and July 15 in 'Deulsaem', respectively. And, the content of linolenic acid was found to be the highest on August 1. As a result, the optimal sowing time for machine harvest of perilla for seed is about June 30. At this time, it is determined that the sowing time is the most suitable to be advantageous in increasing the yield of perilla seed, while minimizing the seed loss due to the shattering at harvest.

• Journal of the Mineralogical Society of Korea
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• v.31 no.4
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• pp.235-248
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• 2018

The present work was performed in order to study the effect of competing cation of $Ca^{2+}$ ion on ion exchange of $Cs^+$ on zeolite Y (Si/Al = 1.56). Three single-crystals of fully dehydrated and partially $Cs^+$-exchanged zeolites Y (Si/Al = 1.56) were prepared by the flow method using mixed ion-exchange solutions. The $CsNO_3:Ca(NO_3)_2$ molar ratios of the ion exchange solution were 1 : 1 (crystal 1), 1 : 100 (crystal 2), and 1 : 250 (crystal 3) with a total concentration of 0.05 M. The single-crystals were then vacuum dehydrated at 723 K and $1{\times}10^{-4}Pa$ for 2 days. The structures of the crystals were determined by single-crystal synchrotron X-ray diffraction technique in the cubic space group $Fd{\bar{3}}m$, at 100(1) K. The unit-cell formulas of crystals 1, 2, and 3 were ${\mid}Cs_{21}Ca_{27}{\mid}[Si_{117}Al_{75}O_{384}]-FAU$, ${\mid}Cs_2Ca_{36.5}{\mid}[Si_{117}Al_{75}O_{384}]-FAU$, and ${\mid}Cs_1Ca_{37}{\mid}[Si_{117}Al_{75}O_{384}]-FAU$, respectively. In all three crystals, the $Ca^{2+}$ ions preferred to occupy site I in the D6Rs, with the remainder occupying sites I', II', and II. On the other hand, the significant differences in the fractional distribution of $Cs^+$ ions are observed depending on the intial $Cs^+$ concentrations in given ion exchange solution. In Crystal 1, $Cs^+$ ion are located at sites II', II, III, and III', and in crystal 2, at sites II, IIIa, and IIIb. In crystal 3, $Cs^+$ ions are only located at sites IIIa and IIIb. The degree of $Cs^+$ ion exchange decreased sharply from 28.0 to 2.7 to 1.3 % as the initial $Ca^{2+}$ concentration increases and the $Cs^+$ content decreases.

• (The) Research of the performance art and culture
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• no.37
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• pp.157-186
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• 2018

Ulsan Soeburi song was reenacted in the 1980s based on the testimony and songs of late Choi Jae man (1987 death), the last blacksmith of the iron production plant at Dalcheon dong, Ulsan in August 1981. The purpose of this study is to analyze Soeburi song from the musical perspective based on 13 kinds of data including video in 1981, and confirm the changing patterns in the tradition process. The derived results are summarized as follows. In the results of examining Soeburi Song data in 2017, the percussion instruments consist of kkwaenggwari 2 (leading small gong 1, follow small gong 1), jing 2 (large gong 2), buk 4 (drum 4), janggu 4 (double headed drum 4), taepyongso 1 (Korean shawm 1), and Jangdan (rhythm) consists of five such as Jilgut, Jajinmori, Dadeuraegi, Deotbaegi, Jajin Deotbaegi. The vocal songs are sung accompanied by the Deotbaegi Jajin Deotbaegi (beat) of quarter small triplet time, or without accompaniment. The scale is mostly Mi La do's third note or Mi La do re's fourth note, and the range does not exceed one octave. All the cadence tones are the same as La. From the results of observing Soeburi song performance until today after the excavation in 1981, it is found that there are four major changes. First, the composition of the music is differentiated into 'long Jajin (slow fast)', and , , and are added. Second, the singing method is based on 'single cantor + multi post singers' since 1980's reenactment, and a single post singer was also specified from time to time. In addition, , which was performed in 2013, became the foundation of . Third, a melodic change of was observed. All beat structures are quarter small triplet time, but the speed gets slow, Mi La do's three notes are skeletonized to be corrected with high re and low sol, and then the characteristics of Menari tori (the mode appeared in the eastern province of the Korean peninsula) are to be clear. Lastly, the four percussion instruments such as kkwaenggwari, jing, janggu, and buk are frequently used, and depending on the performance, sogo (hand drum), taepyongso, yoryeong (bell) are also added. Jangdan played Jajinmori, Dadeuraegi, Deotbaegi and Jajin Deotbaegi from the beginning, and thereafter, the Jilgut Jangdan was added. Through these results as above, it is confirmed that at the time of the first excavation, a simple form of such as has been changed into a male labor song, the purpose of which has changed, and that the playability has become stronger and changed into a performing arts.

• Korean Journal of Heritage: History & Science
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• v.36
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• pp.347-377
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• 2003

China is a country with large agricultural areas and subject to frequent calamities. Drought is the top of them. It has been a key problem for development of agriculture in the country. In the long struggle against drought, Chinese have accumulated many rational and irrational experiences. The Dragon Kings Belief, which is popular in North China and discussed in a thesis, is one of their irrational experiences. The belief was passed together with Buddhism from India to China in the Tang Dynasty. After it settled down, it was incorporated with the local five dragons belief and a set of beliefs in dragon kings came into existence. The emergence of the dragon kings belief ended the history that the title of rain got was not clear in China and Dragon kings finally got the status. Irrigation is the lifeblood of agriculture in China. In a Chinese mind, Dragon kings are the most important gods who take charge of rain and thus offer the lifeblood. In understanding the nature and characteristics of Chinese traditional culture, it is important for us to make clear the origin and evolution of the belief, find out its nature, function and operation. In the every year beginning of February of the Fanzhuang calendar in the people of Hebeisheng Zhaoxian, would all hold a festival to offer sacrifices to the $^{{\circ}TM}^{\prime}longpai$. Longpai was regarded as the core of the temple fair, thus the native sons came to call this festival; "longpaihui". In this region the'Fanzhuang longpaihui'developed into a well knownand grand temple fair. It was able to attract numerous pilgrims with its special magic power, occupying a place in $China^{{\circ}TM}$ 'eryueer'festival with festive dragon activities. The dragon is a common totem among Chinese nationals. The belief worship of the dragon dates from the start time of primitive societies. Dragon oneself the ancients worship's thunder lightning. In the worship of the great universe, at first afterwards this belief with the tribe's totem worships to combine to become the animal spirit. In ancient myths legends, along with folk religion and beliefs all hold a very important position. The longpaihui is a temple fair without a temple; this characteristic is a distinction between longpaihui and other temple fairs. As for longpaihui must of the early historical records are unclear. The originator of a huitou system has a kind of organized form of the special features rather, originator of a huitou not fix constant, everything follows voluntarily principle, can become member with the freedom, also can back at any time the meeting. There is a longpaihui for 'dangjiaren', is total representative director in the originator of a huitou will. 'banghui' scope particularly for extensive, come apparently every kind of buildup that help can return into the banghui, where is the person of this village or outside village of, the general cent in banghui work is clear and definite, for longpaihui would various businesses open smoothly the exhibition provides to guarantees powerfully. Fanzhuang longpaihui from the beginning of February to beginning six proceed six days totally. The longpai is used as the ancestry absolute being to exsits with the community absolute being at the same time in fanzhuang first took civil faith, in reality is a kind of method to support social machine in native folks realize together that local community that important function, it provided a space, a kind of a view to take with a relation, rising contact, communication, solidify the community contents small village, formation with fanzhuang. The fanzhuang is used as supplies for gathering town, by luck too is this local community trade exchanges center at the same time therefore can say the faith of the longpai, in addition to its people's custom, religious meaning, still have got the important and social function. Moreover matter worthy of mentioning, Longpai would in organize process, from prepare and plan the producing of meeting every kind of meeting a longpeng of the matter do, all letting person feeling is to adjust the popular support of, get the mass approbation with positive participate. Apart from the originator of a huitou excluding, those although not originator of a huitou, however enthusiasm participate the banghui of its business, also is too much for the number.

• Journal of the Korean Institute of Landscape Architecture
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• v.47 no.1
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• pp.10-25
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• 2019

This is a study on the ordering status of the cultural property repair work in Seoul, centered on the cultural property construction orders from each local government and affiliated institutions. The scope of this study is spatially based on the city of Seoul. The time range is from October 2015 to September 2017. We can grasp the scale of the cultural asset construction by recognizing the status of the cultural asset of the city and the budget available for repairing the cultural asset. By analyzing the actual situation of the cultural property construction over two years, we were able to learn the total number of orders, the ordering period, the order size and the associated order type. By analyzing the detailed data, we could grasp the actual state of each cultural property type mixing. As a result of that, it was found that one cultural property corporation had difficulty completing construction without the involvement of other types. This suggested the better contract way to a cultural property construction. This study suggests an appropriate ordering method analyzing the tendency of construction orders of cultural properties, which can be utilized as basic data for the placement of cultural property repair technicians in the field. In particular, landscape architecture is an important aspect of the cultural property construction. Despite the need to establish the status of landscaping, there are no papers describing the actual status of contract way to a cultural property construction and the status of the landscape architecture associated with them. This paper empirically reveals the facts for Seoul, and then makes a proposal to establish a complete analysis of the landscape construction business. Specifically, landscape architecture is in a position to take responsibility for the landscape of cultural asset. It is possible to propose the establishment of the status of landscape architecture and to contribute to the securing of business areas that are part of repairing cultural properties.

• (The) Research of the performance art and culture
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• no.32
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• pp.489-524
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• 2016

This study examines the birth of a genre, the $Sekky{\bar{o}}bushi$ Misemono Opera, focusing on how it accepted and modernized Katarimono $Sekky{\bar{o}}bushi$. Unlike earlier studies, it argues that Terayama was clearly different from other first-generation Angura artists, in that he rebirthed the medieval story $Sekky{\bar{o}}bushi$ as a modern Misemono Opera. Shintokumaru (1978) was directed by Terayama $Sh{\bar{u}}ji$, a member of the first generation of Japan's 1960s Angura Theatre Movement. It takes as its subject the Katarimono $Sekky{\bar{o}}bushi$ Shintokumaru, a story set to music that can be considered an example of the modern heritage of East Asian storytelling. $Sekky{\bar{o}}$ Shintokumaru is set in Tennoji, Japan. The title character Shintoku develops leprosy as a result of his stepmother's curse and is saved through his fiancee Otohime's devoted love and the spiritual power of the Bodhisattva Avalokitesvara. In this work, Terayama combined the narrative style of $Sekky{\bar{o}}bushi$ with J.A. Caesar's shamanistic rock music and gave it the subtitle 'Misemono Opera by $Sekky{\bar{o}}bushi$'. He transforms its underlying theme, the principle of goddesses and their offspring in a medieval religious world and the modori (return) instinct, into a world of mother-son-incest. Also, the pedestrian revenge scene from $Sekky{\bar{o}}bushi$ is altered to represent Shintokumaru as a drag queen, wearing his stepmother's clothes and mask, and he unites sexually with Sensaku, his stepbrother, and ends up killing him. The play follows the cause and effect structure of $Sekky{\bar{o}}bushi$. The appearance of katarite, a storyteller, propelling the narrative throughout and Dr. Yanagida Kunio is significant as an example of the modern use of self-introduction as a narrative device and chorus. Terayama $Sh{\bar{u}}ji^{\prime}s$ memories of desperate childhood, especially the absence of his father and the Aomori air raids, are depicted and deepened in structure. However, seventeen years after Terayama's death, the version of the play directed by Ninagawa Yukio-based on a revised edition by Kishida Rio, who had been Terayama's writing partner since the play's premier-is the today the better-known version. All the theatrical elements implied by Terayama's subtitle were removed, and as a result, the Rio production misses the essence of the diverse experimental theatre of Terayama's theatre company, $Tenj{\bar{o}}$ Sajiki. Shintokumaru has the narrative structure characteristic of aphorism. That is, each part of the story can stand alone, but it is possible to combine all the parts organically.

• The Journal of Korean Philosophical History
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• no.56
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• pp.119-149
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• 2018

Le 樂 is important in Politics of the Kings. It is the same in Nothern Song period(北宋). There was an argument about Le 樂 and Lu 律 in Nothern Song Period. Those who argued were Fan-Jin(范鎭) and Sima-Guang(司馬光). They argued for 30 years. Fan-Jin insists that a standard of weights and measures is Lu and a standard of Lu is the fundamental tone of twelvenotes scale, Hwang-Jong 黃鍾. On the other hand, Sima-Guang insists that a standard of Lu is weights and measures and a standard of Le is Equilibrium and Harmony, Zonghe 中和. Fan-Jin thinks it is possible to restore a Sage King's music through the right standard of Lu. But Sima-Guang thinks it is impossible. Sima-Guang believes that the only way to restore a Sage King's music is to complete Zonghe. And Fan-Jin thinks Zonghe is the work of the king whereas Sima-Guang thinks Zonghe is the order of man and everything. The key point in the argument is Lu and Zonghe. Fan-Jin regards Lu as the basis of music, whereas Sima-Guang regards Zonghe as the basis of music. Lu is a tangible law and Zonghe is a intangible law. Although the argument between the two ended in a stalemate, the argument shows the difference between the scholars at the time.