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Determination of Optimal Application Rates of Phosphorus and Potassium Fertilizers for Paddy Rice (벼에 대한 인산 및 칼리질비료의 적정시비량 결정)

  • Song, Yo-Sung;Jun, Hee-Joong;Park, Woo-Kyun;Jung, Beung-Gan;Jung, Kyu-Seok;Lee, Ki-Sang;Yoon, Young-Sang
    • Korean Journal of Soil Science and Fertilizer
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    • v.41 no.2
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    • pp.75-82
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    • 2008
  • In order to establish environmentally friendly phosphorus(P) and potassium(K) fertilizer application rates for rice cultivation in Korea, a field experiment was conducted in two different characterized paddy soils, higher and lower P and K content in soil from 2005 to 2006 in Suwon, Korea. Chuchong which is typical rice variety in Korea, was selected for experiment. Rice yields in base P-K fertilizer level ($30-30kg\;ha^{-1}$) and no P-K fertilizer level were 97~98% and 93~97% of standard P-K fertilizer level ($45-57kg\;ha^{-1}$), respectively. At the lower content of P and K in immatured paddy soil, the yield of no P plot was decreased by 7% compared to that of standard P-K plot. Significant difference in rice yield and yield characteristics was found neither in standard P-K fertilization plot nor in base P-K fertilization plot. There was no significant difference in P and K uptake at the harvest stage between standard P-K fertilizer plot and base P-K fertilizer plot. Phosphorus and K uptake was slightly decreased in no fertilizer plots compared to standard fertilizer plot. Phosphorus and K use efficiency of rice plant in base fertilizer plot was higher than that in standard fertilizer plot. Available phosphorus and exchangeable potassium content in soil at the harvest stage were increased in both standard and base fertilizer plot. But no significant difference of P and K content in ? was found between standard fertilizer plot and base fertilizer plot. Rice quality characteristics such as proportion of brewers rice, damaged kernel, broken rice, and content of amylose and protein were lowered in the base fertilizer plot than the standard fertilized plot, while the proportion of perfect kernel increased in the base fertilizer plot From the results, we generally recommend the base P-K fertilization ($30-30kg\;ha^{-1}$) instead of standard P-K fertilization ($45-57kg\;ha^{-1}$) for rice cultivation in Korea.

Conservation and Reproduction of Cheongpung Buwongun Kim Wumyeong's Funeral Bier (청풍부원군 김우명 상여의 보존 및 복제)

  • Jeong, Jaeung;Huh, Ilkwon;Park, Seungwon;Yi, Yonghee
    • Conservation Science in Museum
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    • v.14
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    • pp.91-113
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    • 2013
  • Cheongpung Buwongun Kim Wu-myeong's Funeral Bier, an important folklore cultural property No.120, possessed by Chuncheon National Museum was donated in 2002 (by Kim Seonggu). It consists of a bier, yoyeo(腰輿), myeongjeongdae(銘旌臺), and manjangdae(輓章臺). It has a high value as the oldest royal bier. The bier which had a resting time in the storage for special exhibition of "The great cultural treasure of Gangwon province" was inspected in September 2012 and colored pigment layer of the wooden part had the risk of peeling off and surface damage of the textile was serious. Therefore, conservation treatment was conducted. In addition, knots and susiks(垂飾) were severely damaged and their exhibition was impossible. Therefore, a reproduction to replace them through a close investigation was made. All parts of the funeral bier were in separation except for the basic furniture. Conservation was made by dividing the parts into wooden parts and textile parts. Yoyeo was reinforced after disassembling bujae from it and then was reassembled. Paraloid B-72 2 wt% (in ethyle acetate), acrylic resin, was applied to the wooden part of the bier in order to reinforce the colored pigment layer with the addition of sodium alginate 2 wt%(in stilled water) and glue 4 wt%(in stilled water). The pollutants on the surface of the textile part were removed (vacuuming) and its creases were smoothed out (steaming). Fat-soluble pollutants were removed using an nonionic surfactant(Saponin, concentration at 0.25 to 0.5 g/𝑙, in de-ionized water). After the disassembly of the yoyeo from the broken wooden, it was bonded with glue (3 wt% for the first gluing, 35 wt% for gluing), and pine wood was used to restore missing parts. In the process of connecting Wongak(雲角), the original metal hinge and nails were reused to complete the assembly.

The Bibliographical Study on Development of Yackwa (약과(藥果) 문화(文化)의 변천에 관(關)한 문헌적(文獻的) 고찰(考察))

  • Cho, Shin-Ho;Lee, Hyo-Gee
    • Journal of the Korean Society of Food Culture
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    • v.2 no.1
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    • pp.33-43
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    • 1987
  • The cooking processes of Yackwa writen in 27 Korean books were reviewed. The changes of the names, shapes, materials and methods of dough, and the methods of frying, the materials and methods of soaking, garnishes were reviewed based on the historical literatures. 1. The changes of names of Yackwa were Yackwa, Kwajul, Chokwa and the shapes were bird, animal, round or cubic. The diameter was about 3.5cm, and thickness was from 0.5cm to 1.5cm. 2. The major ingredients of Yackwa were flour, honey, sesame oil and alcohol beverages. Sometimes, soybean powder and rice powder were used instead of flour, and chochung, sugar water, sugar syrup were used instead of honey. Sesame oil was usually used but salad oil were used occasionally. Usually pure liquor, distilled spirits, rice wine, cloudy and coarse rice wine, whisky were used as alcoholic ingredient and water was used at boiling state. Sesame and sesame salt, ginger and ginger juice, pepper powder, pine nuts powder, salt were used as minor ingredients. 3. Though the flour was kneaded extensively or gently, the latter was peculier since 1940. 4. The dough was fried in oil at $120{\sim}160^{\circ}C$ for $5{\sim}15$ minutes. at that time, The shape will be broken if temperature of oil is too low and too harden if temperature is too high. 5. Fried dough was soaked in honey before 1940, but thereafter other sweeteners, such as chochung, syrup were also used. Ginger juice, dried ginger, citron juice were used for flavor. 6. For enhancing the flavor and softening excess oil was removed from the fried Yackwa, and then it was soaked in honey. 7. The garnishes of Yackwa were pine nuts powder, cinnamon powder, sugar, etc.

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Studies on Forest Soils in Korea (I) (한국(韓國)의 삼림토양(森林土壤)에 관(關)한 연구(硏究)(I))

  • Lee, Soo Wook
    • Journal of Korean Society of Forest Science
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    • v.47 no.1
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    • pp.52-61
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    • 1980
  • This study is carried out to learn the properties of forest soils in Korea and propose the reasonable management methods of forest land. Among 178 soil series surveyed until now in Korea forest soils include 64 series broken down according to the weathered products into 5 categories such as residual materials on mountain and hill, residual materials on rolling and hill, colluvial materials on local valley and fans, alluvial materials and volcanic ash soils. What discussed in this paper are classification system, parent rocks, texture class and drainage conditions of Korean forest soils. The characteristics of Korean forest soil properties classified in U.S.D.A. soil classification system are as follows: 1. Residual soils on mountain and hill (29 soil series) are almost Lithosols without any distinct soil profile development. They have loamy skeletal (11 series), coarse loamy (5 series), fine loamy (3 series), and fine clayey soils (3 series). Their drainage conditions are somewhat excessively drained in 16 series and well drained in 7 series. 2. Residual soils on rolling and hill (19 series) are Red-Yellow Podzolic soils with well developed soil profiles. They have coarse and fine loamy texture in 12 series and fine clayey texture in 5 series mostly with well drained condition. 3. Colluvial soils on local valley and fans (13 series) include mostly Regosols and some Red-Yellow Podzolic Soils and Acid Brown Forest Soils. They have loamy skeletal (4 series), coarse loamy (3 series), fine loamy (3 series), and fine clayey soils (2 series) with well drained condition. 4. Soil textures of weathered products of parent rocks are as follows: 1) Parent rocks producing coarse texture soils are rhyolite, granite gneiss, schist, shale, sandstone, siltstone, and conglomerate. 2) Parent rocks producing fine and heavy texture soils are limestone, basalt, gabbro, and andesite porphyry. 3) Granite is a parent rock producing various textured soils.

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Effects of specimens dimension on the flexural properties and testing reliability of dental composite resin (치과용 복합레진의 굽힘 특성과 시험 신뢰도에 미치는 시편 크기의 영향)

  • Im, Yong-Woon;Hwang, Seong-sig;Kim, Sa-hak;Lee, Hae-Hyoung
    • Korean Journal of Dental Materials
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    • v.44 no.3
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    • pp.273-280
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    • 2017
  • The aim of the present study was to investigate the effects of specimen dimension on the flexural properties and testing reliability of dental composite resin. The composite resin was prepared experimentally by mixing a resin matrix with silanated micrometer glass filler at 50 vol%. Flexural specimens with various dimension in specimen's width were fabricated by light curing using a split metal mold; $25{\times}2{\times}2mm$, $25{\times}2{\times}4mm$, $25{\times}2{\times}6mm$ in length ${\times}$ height ${\times}$ width. The flexural strength and modulus were determined according to ISO 4049 test protocol at a span length of 20 mm (normal-flexural strength; NFS). Another flexural test was conducted using mini-sized specimens ($12{\times}2{\times}2mm$, $12{\times}2{\times}4mm$, $12{\times}2{\times}6mm$) from the broken specimens at a span length of 10 mm (mini-flexural strength; MFS). Data were analyzed with ANOVA and Duncan's post-hoc test and the test reliability was evaluated by Weibull analysis. Results showed that there are generally no significant difference in flexural strength with the increase in the specimen width in NFS and MFS tests. However, the test reliability of flexural strength based on Weibull analysis was largely changed with the variables in the dimension of width and span length. The flexural modulus of NFS was increased as the dimension of specimens width increased while there was no trend in flexural modulus of MFS test. Overall results recommend that the evaluation of flexural properties and the reliability of dental composite resins should be performed with more than one test method.

A Study on the Modern Understanding of SimChong-Jeon and its Storytelling Strategy in the Movie (심청전에 대한 현대적 상상력과 스토리텔링 전략 - 영화 <마담 뺑덕>(2014)을 대상으로 -)

  • Shin, Horim
    • (The)Study of the Eastern Classic
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    • no.66
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    • pp.303-330
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    • 2017
  • The purpose of this article is figuring out the modern understanding of SimChong Jeon's narrative and its storytelling strategy in the movie (2014). In the movie, there are three steps which are based on the temporal flow of narrative. shows the web-like structure of desire especially by focusing on the male character Sim Hakkyu. The relationship among characters in is gradually broken because of the desire. Moreover, the desire pushes Sim Chong who is Sim Hakkyu's daughter into the sacrifice. This part seems similar with the narrative of SimChong-Jeon which has been transmitted since 18~19 century in Choson dynasty. However, also tells a different story which describes the progress of Sim Hakkyu's seeking the real relationship filled with love. This difference is able to make people read with the 'stroytelling' point of view. All the lack or problem in is closely related to the desire of Sim Hakkyu. His narrative is something different from the typical story of SimChong-Jeon. A new narrative of Sim Hakkyu is not Sim Chong centered story but rather the anti of it. 'The other narrative' in seems social practice of storytelling in order to break down the preconception of SimChong-jeon called 'cannon'. This is the storytelling strategy of and it suggests the another way of creating new narrative which is based on the classical cannon.

Literary Text and the Cultural Interpretation - A Study of the Model of 「History of Spanish Literature」 (문학텍스트와 문학적 해석 -「스페인 문학사」를 통한 모델 연구)

  • Na, Songjoo
    • Cross-Cultural Studies
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    • v.26
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    • pp.465-485
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    • 2012
  • Instructing "History of Spanish Literature" class faces various types of limits and obstacles, just as other foreign language literature history classes do. Majority of students enter the university without having any previous spanish learning experience, which means, for them, even the interpretation of the text itself can be difficult. Moreover, the fact that "History of Spanish Literature" is traced all the way back to the Middle Age, students encounter even more difficulties and find factors that make them feel the class is not interesting. To list several, such factors include the embarrassment felt by the students, antiquated expressions, literature texts filled with deliberately broken grammars, explanations written in pretentious vocabularies, disorderly introduction of many different literary works that ignores the big picture, in which in return, reduces academic interest in students, and finally general lack of interest in literate itself due to the fact that the following generation is used to visual media. Although recognizing such problem that causes the distortion of the value of our lives and literature is a very imminent problem, there has not even been a primary discussion on such matter. Thus, the problem of what to teach in "History of Spanish Literature" class remains unsolved so far. Such problem includes wether to teach the history of authors and literature works, or the chronology of the text, the correlations, and what style of writing to teach first among many, and how to teach to read with criticism, and how to effectively utilize the limited class time to teach. However, unfortunately, there has not been any sorts of discussion among the insructors. I, as well, am not so proud of myself either when I question myself of how little and insufficiently did I contemplate about such problems. Living in the era so called the visual media era or the crisis of humanity studies, now there is a strong need to bring some change in the education of literature history. To suggest a solution to make such necessary change, I recommended to incorporate the visual media, the culture or custom that students are accustomed to, to the class. This solution is not only an attempt to introduce various fields to students, superseding the mere literature reserch area, but also the result that reflects the voice of students who come from a different cultural background and generation. Thus, what not to forget is that the bottom line of adopting a new teaching method is to increase the class participation of students and broaden the horizon of the Spanish literature. However, the ultimate goal of "History of Spanish Literature" class is the contemplation about humanity, not the progress in linguistic ability. Similarly, the ultimate goal of university education is to train students to become a successful member of the society. To achieve such goal, cultural approach to the literature text helps not only Spanish learning but also pragmatic education. Moreover, it helps to go beyond of what a mere functional person does. However, despite such optimistic expectations, foreign literature class has to face limits of eclecticism. As for the solution, as mentioned above, the method of teaching that mainly incorporates cultural text is a approach that fulfills the students with sensibility who live in the visual era. Second, it is a three-dimensional and sensible approach for the visual era, not an annotation that searches for any ambiguous vocabularies or metaphors. Third, it is the method that reduces the burdensome amount of reading. Fourth, it triggers interest in students including philosophical, sociocultural, and political ones. Such experience is expected to stimulate the intellectual curiosity in students and moreover motivates them to continues their study in graduate school, because it itself can be an interesting area of study.

The ethics of integrity (자아 통합성의 윤리)

  • Lee, Hye-jung
    • Journal of Korean Philosophical Society
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    • v.144
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    • pp.319-338
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    • 2017
  • Nowadays, the attention of integrity increases in ethics by concerning about the self and reviving the virtue ethic. It's terminology is diverse because integrity is understood and translated in various dimensions. I am trying to translate integrity into self-integration. Firstly, the reason why is to bring the Latin language of integrity. The Latin language of integrity means an undivided and broken completeness or totality with nothing wanting. Secondly, This is the reason why it is related with the morally good life. This integrity is not an integration as a stream of consciousness and a substantial self identity given from an ancient Greek. I resolve a self integration through the unity of a narrative of MacIntyre. MacIntyre's point is like this. Integrity is connected with the unity of character which a self is embedded in character. The unity of character presupposes a self identity, ultimately the integrity of narrative requires the unity of character. But like a beginning and middle and end of a narrative, he says that the concept of self is based on the its unity in the narrative uniting birth and middle and death. This is in the course of life being his/her history and narrative because a self has a sustainability of time embedded in a life from birth to end. That self exists as a subject making its narrative shows being responsible for and responsible for experience and action constructing this narrative. This shows the relation with narrative and temporality. The self of present is talking about the self of past and brings the problem of responsibility by narrating the self of future. Then, who are those person who live life of their integrity. We can talk that comfort women live life of their integrity. Comfort women realized their integrity by narrating and become subject of their history.

A STUDY ON THE JUJEON OF AUTOMATIC CLEPSYDRA IN EARLY JOSEON DYNASTY (조선 전기 자동물시계의 주전(籌箭) 연구)

  • YUN, YONG-HYUN;KIM, SANG HYUK;MIHN, BYEONG-HEE;OH, KYONG TAEK
    • Publications of The Korean Astronomical Society
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    • v.36 no.3
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    • pp.65-78
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    • 2021
  • Jagyeokru, an automatic striking water clock described in the Sejong Sillok (Veritable Records of King Sejong) is essentially composed of a water quantity control device and a time-signal device, with the former controlling the amount or the flow rate of water and the latter automatically informing the time based on the former. What connects these two parts is a signal generating device or a power transmission device called the 'Jujeon' system, which includes a copper rod on the float and ball-racked scheduled plates. The copper products excavated under Gongpyeong-dong in Seoul include a lot of broken plate pieces and cylinder-like devices. If some plate pieces are put together, a large square plate with circular holes located in a zigzag can be completed, and at the upper right of it is carved 'the first scheduled plate (一箭).' Cylinder-like devices generally 3.8 cm in diameter are able to release a ball, and have a ginkgo leaf-like screen fixed on the inner axis and a bird-shaped hook of which the leg fixes another axis and the beak attaches to the leaf side. The lateral view of this cylinder-like device appears like a trapezoid and mounts an iron ball. The function of releasing a ball agrees with the description of Borugak Pavilion, where Jagyeokru was installed, written by Kim Don (1385 ~ 1440). The other accounts of Borugak Pavilion's and Heumgyeonggak Pavilion's water clocks describe these copper plates and ball releasing devices as the 'Jujeon' system. According to the description of Borugak Pavilion, a square wooden column has copper plates on the left and right sides the same height as the column, and the left copper plate has 12 drilled holes to keep the time of a 12 double-hours. Meanwhile, the right plate has 25 holes which represent seasonal night 5-hours (Kyeong) and their 5-subhours (Jeom), not 12 hours. There are 11 scheduled plates for seasonal night 5-hours made with copper, which are made to be attached or detached as the season. In accordance with Nujutongui (manual for the operation of the yardstick for the clepsydra), the first scheduled plate for the night is used from the winter solstice (冬至) to 2 days after Daehan (大寒), and from 4 days before Soseol (小雪) to a day before the winter solstice. Besides the first scheduled plate, we confirm discovering a third scheduled plate and a sixth scheduled plate among the excavated copper materials based on the spacing between holes. On the other hand, the width of the scheduled plate is different for these artifacts, measured as 144 mm compared to the description of the Borugak Pavilion, which is recorded as 51 mm. From this perspective, they may be the scheduled plates for the Heumgyeonggak Ongru made in 1438 (or 1554) or for the new Fortress Pavilion installed in Changdeokgung palace completed in 1536 (the 31st year of the reign of King Jungjong) in the early Joseon dynasty. This study presents the concept of the scheduled plates described in the literature, including their new operating mechanism. In addition, a detailed model of 11 scheduled plates is designed from the records and on the excavated relics. It is expected that this study will aid in efforts to restore and reconstruct the automatic water clocks of the early Joseon dynasty.

Expressions of the , Owned by the Onyang Folk Museum Haeju's Scenery and Customs in the Late Joseon Dynasty (온양민속박물관 소장 <해주팔경도(海州八景圖)>에 표현된 조선 후기 해주의 풍경과 풍물)

  • RHO, Jaehyun
    • Korean Journal of Heritage: History & Science
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    • v.54 no.4
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    • pp.36-59
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    • 2021
  • This study infers the origin and production period of the , which is in the Onyang folk museum, through analysis and interpretation of the Haeju Palgyeong and exploration of the landscapes and traditions contained in the painting. The first collection of landscapes to Haeju was identified as Haeju Palgyeong by Ku Sa-meng (1531-1604). Yoo Man-ju, writing in 1782, referred to it as Go-palgyeong in 『Heumyeong』 while Haeju Palgyeong was defined as Geum-palgyeong (今八景), which is the Haeju Palgyeong in the earliest period confirmed by literature. is 'Boating on the Nam river (南江泛舟)', 'Lotus viewing at Buyongdang (芙蓉賞蓮)', 'Foot washing at Gwangseokcheon (廣石濯足)', 'Seokbyul at Haeunkyo (泣川送客)', 'Fishing at Haeunjeong (東亭釣魚)' and 'Sea view at Namsan( 南山望海)', and the final two contain a picture that contains 'Viewing the moon at Yeonghaeru (瀛海玩月)' and 'Writing contest and Archery at Baeklimjeong (栢林觀德)' The Suyang Chaemi(首陽採薇), Shingwang-jeoljeol (神光霽雪), and Jiseong falls (池城瀑布) of Gopalgyeong, which were excluded from Haeju Palgyeong, are all landscapes unfolding as a grand site of Suyangsan Mountain. is a result of the reorganization of Seunggyeong centered on Eupchi (邑治), away from the Suyangsan area. It has emerged as a seunggyeong of Haeju. The elaborateness of trying to contain the detailed prizes representing Haeju, such as the specialty sake of Haeju, is revealed. Most of the landscapes depicted in are historic and outstanding spots in Haemok, but the scenes of life related to daily life are properly arranged. In addition, Foot washing (濯足), Fishing(釣魚), Doing laundry (漂母), Lotus viewing (賞蓮), Sending guests (送客), Drinking (飮酒), sea viewing (望海), Moon viewing (玩月), Archery (射藝), Poetry (詩作), Drinking tea (飮茶), and Dancing (歌舞) are of various styles. Compared with the Gopalgyeongs, Haeju Palgyeong did not take into account the distribution of landscapes in the four seasons, and the small-sized view was also broken. When considering the time of the construction of Haeunjeong and the deterioration of Yeonghhoeru, it is believed that was produced in the early- to mid-18th century. is considered to be a painting that contributed to strengthening the sense of intimacy with the local people and promoting the pride of Haeju by showing the representative scenery of Haeju, such as scenic spots and customs, away from the ideal utopia.