• Journal of the Korean Geotechnical Society
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• v.34 no.3
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• pp.43-56
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• 2018

Vertical cutoff walls such as steel pipe sheet piles (SPSPs) have been commonly applied for the construction of the offshore waste landfill site. Because the SPSPs are sequentially installed by connecting their joints to those of adjacent piles, their mechanical stability should be ensured against the inherent external forces on the sea. The objective of this study is to evaluate the structural performances of the newly developed types of SPSP joint compared with those of other joint types. The problems of the traditional SPSP joints are investigated, and an advanced joint shape of SPSP, which is named double H with L-T (DHLT) joint, are designed for improving the constructability and maintenance. Full-scale models of the DHLT joint are manufactured, and then its joint areas are filled with grout material. After 28 days of curing time, compressive and tensile strength tests were performed on the joint models and the test results were compared with those of the traditional joints. Experimental results show that the structural capacities of the DHLT joint models are lower than those of traditional joints due to the influence of grout and steel members. In the cases of the compressive strength test, especially, bending occurs on steel H-beam with no distinct cracks in grout due to the asymmetrical structure of joint which has no reaction force. This study shows that the performance of the SPSP joint can be improved by considering the influence factors on the structural capacities estimated by the experimental tests.

• 지역과문화
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• v.8 no.3
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• pp.27-48
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• 2021

In recent years, China's tourism performing art in a series of new completion of the project, increase the box office of tourism performing arts industry, higher economic income, at the same time led to the formation of brand of tourism performing arts and has a good reputation, with the regional culture, has a certain role in promoting economic development, including Large scenario experience drama is one of the key projects. Large scenario experience drama is a new form of drama that simulates the space design of real environment and enables the audience to have active experience in visual, auditory, smell, taste, touch and other senses with strong interactivity.Large scenario experience drama are adapted from traditional Chinese culture, regional culture and long-passed stories, and combine high technology such as lighting, sound effects, special effects and 3D effects to make the audience's experience more real.As the first Large scenario experience drama in China, 'You Jian Ping-yao' reflects the profound culture of Shanxi with new forms of expression and creative means, in the form of scene experience and make the audience more intuitive feel the 'Shanxi emotion', 'Shanxi sentiment' and 'Shanxi Morality', carry forward the traditional culture at the same time, also passed the Shanxi ancient and great values, strengthened the drama of China's movie village, impetus the development of the tourism industry in Shanxi, drive the Shanxi region of jingjing, gradually formed a complete industrial chain. However, there are also limitations such as improper plot connection and improper tourist management, which can improve the performance effect through more audience interaction and guidance. Therefore, it can be seen that large-scale situational experience dramas play a great role in promoting the dissemination of traditional culture and values, the development of tourism industry, the formation of regional brand characteristics and economic development. Through these, it can be seen that large-scale situational experience plays have enlightenments such as innovative thinking content, gradually forming an industrial chain closed-loop, and broadening publicity channels for the development of live-action performances.

• (The) Research of the performance art and culture
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• no.20
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• pp.163-204
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• 2010

"Nectar of Immortality", also known as Suryukwha, is a painting which is hung on the wall during Suryukjae, a rite to console the spirits residing on both land and water. The Suryukwha at Bonyung Temple in the Ming Dynasty consisted of 139 scrolls depicting separate scenes. In Korea, however, Nectar of Immortality combines all the scenes into one large painting. The lower part of Nectar of Immortality describes pain, disasters, and the frailty of human life in this world. This is intended to inspire people to embrace Buddhism and be delivered from their worldly existence. However, it reflects the social realities of that time as well. The scenes at the bottom of the painting of nomadic troupes of entertainers and their performances are part of this reflection. In this section, various scenes of traditional Korean performance are illustrated, such as double and single tightrope walking, Sotdaetagi (performing atop a pole), Ssangjulbaegi (one form of Sotdaetagi), tumbling, bell juggling, mask dramas, dish spinning, puppet shows, the dance of Sadang, and sword dancing. Among these performances, some, such as Sotdaetagi, Ssangjulbaegi, double tightrope walking, bell juggling and sword dancing (Punggakjaengipae), have since ceased to exist. The troupes of entertainers depicted in Nectar of Immortality are Sadangpae, Namsadangpae, Sotdaejaengipae, Choranipae, Punggakjaenipae, Gutjungpae, and circus troupes. When, after itinerant lives, these entertainers die, they become forlorn wandering spirits with no descendants to perform their memorial services. The entertainers in the performance scenes are the embodiment of souls who are the subjects of salvation through Suryukjae. Among these entertainers, Sotdaejaengipae, Sadangpae, Choranipae, Punggakjaenipae and Gutjungpae no longer exist. In sum, Nectar of Immortality provides insight into the vanished content of numerous historic forms of performance and the activities of nomadic troupes of entertainers.

• Journal of Soil and Groundwater Environment
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• v.13 no.6
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• pp.93-102
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• 2008

Experimental studies were conducted to characterize the synthesized nanoscale zero-valent iron (NZVI) which is resistant to oxidation in the atmospheric environment. XRD, XPS, and TEM analyses revealed that the oxidation-resistant NZVI particles formed under various controlled air contact conditions (4, 8 and 12 mL/min) have shells with ${\sim}$5 nm thickness. The shells consist of magnetite (${Fe_3}{O_4}$) and maghemite (${\gamma}-{Fe_2}{O_3}$), predominantly. No substantial differences were found in the shell components and thickness among NZVI particles formed under the various air flow rates. On the other hand, shell was not detected in the TEM image of rapidly oxidized NZVI particles. NZVI particles synthesized under the various air flow rates showed similar TCE degradation performances ($k_{obs}$= 0.111, 0.102, and 0.086 $hr^{-1}$), which are equivalent to approximately 80% of those obtained by the fresh NZVI particles. TCE degradation efficiencies of the NZVI particles(fresh, controlled air contact and rapidly oxidized) were improved after equilibrating with water for one day, indicating that depassivation of the shells occurred. The performances of NZVI particles decreased to 90% and 50% of those of the fresh NZVI particles, when they were equilibrated with the atmosphere for a week and two months, respectively. The NZVI particles synthesized under the controlled air contact would have advantages over traditional NZVI particles in terms of practical application into the site, because of their inertness toward atmospheric oxygen.

• Journal of the Korean Society of Surveying, Geodesy, Photogrammetry and Cartography
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• v.32 no.1
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• pp.63-73
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• 2014

Recently, researches on DBRN(DataBase Referenced Navigation) system are being carried out to replace GNSS(Global Navigation Satellite System), as weaknesses of GNSS were found that are caused by the intentional interference and the jamming of the satellite signal. This paper describes the gravity gradient modeling and the construction of EKF(Extended Kalman Filter) based GGRN(Gravity Gradient Referenced Navigation). To analyze the performance of GGRN, fourteen flight trajectories were made for simulations over whole South Korea. During the simulations, we considered the errors in both DB(DataBase) and sensor as well as the flight altitudes. Accurate performances were found, when errors in the DB and the sensor are small and they located at lower altitude. For comparative evaluation, the traditional TRN(Terrain Referenced Navigation) was also developed and performances were analyzed relative to those from the GGRN. In fact, most of GGRN performed better in low altitude, but both of precise gravity gradient DB and gradiometer were required to obtain similar level of precisions at the high altitude. In the future, additional tests and evaluations on the GGRN need to be performed to investigate on more factors such as DB resolution, flight speed, and the update rate.

• Asian-Australasian Journal of Animal Sciences
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• v.26 no.5
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• pp.675-682
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• 2013

One hundred and sixty Taiwan country chickens (d-old chicks) were randomly assigned into four groups with four replicates and equal sex. Basal diets were supplemented with 0, 0.5, 1 and 2% of Bazhen powder, a traditional Chinese herbal medicine complex. The study was conducted for 14 wks. Experimental results indicated that Bazhen supplement did not influence feed intake, body weight gain and feed:gain ratio. Compared with control group, the percentage of serum HDL (high-density lipoprotein) linearly increased (p<0.03) and that of VLDL+LDL (very low-density+low-density lipoprotein) linearly decreased (p<0.03) in Bazhen supplemented groups, that 2% Bazhen was significantly different with control group (p<0.05). Chickens fed diets containing 2% Bazhen displayed reduced (p<0.05) serum GOT (glutamic-oxaloacetic transaminase) levels. The IgG, ${\gamma}$-globulin levels and PHA (phytohemagglutinin) skin challenge results in 1% Bazhan supplemented group were higher (p<0.05) than in the control group, the SRBC (sheep red blood cell) and ND (newcastle disease) titers in Bazhen supplemented groups were linear higher (p<0.05) than in the control group. The liver catalase activity and the capacity of scavenging DPPH (${\alpha}$-${\alpha}$-diphenyl-${\beta}$-picrylhydrazyl) radical were linearly increased (p<0.03) in Bazhen supplemented groups, and the 1 and 2% groups were different from the control group (p<0.05). Liver TBARS (thiobarbituric acid-reactive substances) levels in all Bazhen supplemented groups and total glutathione level in the 2% group were reduced (p<0.05) compared to the control group and displayed a linear response (p<0.05). The TBA (thiobarbituric acid) and pH value of the breast muscle after 24 h post-mortem in the Bazhen supplemented groups was linear lower (p<0.05) than in the control group. Results from this study demonstrated that Bazhen supplement in chicken had several beneficial effects, including increased SRBC and ND titers, HDL and IgG, ${\gamma}$-globulin levels, PHA skin challenge result, decreased VLDL+LDL and GOT levels, and displayed antioxidation effects in serum and carcass meat parameters.

• (The) Research of the performance art and culture
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• no.33
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• pp.223-242
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• 2016

The Korean $taeg{\breve{u}}m$, a horizontal bamboo flute, is considered a representative wind instrument of Korean traditional music. Symbolized by its unique timbre and diverse techniques, this instrument transmits the beauty of Korea, and has become acknowledged even in international music scenes. Being a $taeg{\breve{u}}m$ player, composer, and ethnomusicology researcher, I have developed creative collaborations with musicians from Asian, electro-acoustic, jazz, and Western art music traditions developed outside my country of origin and tried to overcome musical boundaries through the 'intercultural performances' (after Turner 1988). Zooming in one collaboration, I detail the process of music creation and performance, collaborating with prominent Korean composer Kim $Taes{\breve{o}}ng$ (b.1967), who was commissioned by myself to write two compositions for the $taeg{\breve{u}}m$ and Western art music. The purpose is twofold: firstly, the modernization and appropriation of the Korean flute is briefly tracked down within the context of Western Art music. Secondly, a performance project is illustrated with the support of technical apparatuses such as DVD and CD recordings and delves further into the question of the 'cultural relativism' (Michael Tenzer, 2006: 7) through the interactive process. The performance-as-research, as a tool 'actualizing' (Richard Schechner 2003: 32) the hybridity, touches on critical domains in Ethnomusicology. The corresponding two parts discover, as Alan Merriam's(1964) 'tripartite model' suggests, the 'context' of Korean and Western cultures, the 'behaviour' of collaborating and performing and the 'sound' of improvised and composed productions in the course of music making.

• (The) Research of the performance art and culture
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• no.37
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• pp.327-363
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• 2018

Bhutan's mask dance drama, Cham is performed in the festival of Tshechu. Originating from the 17th century, Tschechu is a religious ritual as well as a traditional festival held to commemorate the birth of Padmasambhava, who spread Buddhism in the kingdom of Bhutan. Bhutanese Cham and Tibetan Cham share similar traits in their content of , , and in their characters of Pawo and Pamo. Meanwhile, , , , , , , , are distinctive performances of Bhutanese cham. Moreover, the clown character Atsara in Bhutanese cham is a character that does not appear in the Tibetan Cham. Atsara, a humorous character, can be identified by its use of a long phallus ornament on the head or by a distorted face mask with a phallus in its hand. Bhutanese Cham, originally from Tibet, is a religious mask dance drama handed down in Lamaism temples. In later generations, new performances reflective of Bhutan's history, myth, legends, and religion were added in large amount. Thus, the Cham of Bhutan now has very independent and characteristic aspects.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.421-446
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• 2012

The purpose of this paper is to shed light onto the historical significance and limitations of the Tsukiji Little Theater's modern performances. The Tsukiji Little Theater holds a position of great importance to the history of both Japanese and Korean modern theater. Some, however, are under the completely opposite impression. There are also mixed opinions about whether the Tsukiji Little Theater is a "model example" of the modern theatrical movement or a "bad example". Based on this controversy, we look into the definitive characteristics of the Tsukiji Little Theater based mostly on "the controversy over translated foreign plays", "the controversy of foreign plays versus original plays", "the value of kabuki" and "Shinpa as a rival". This paper looked into the differences in controversy over translated foreign plays in the Tsukiji Little Theater and the controversy in existing translated foreign plays. It mostly looks at the "casuistry of foreign plays" and the "cultural engineering theory of foreign plays"to get a grasp on the controversy surrounding existing translated foreign plays. Meanwhile, the "internally critical meaning" towards the original plays of renowned writers was strong in the controversy of foreign plays in the Tsukiji Little Theater. Kaoru Osanai defined the 1920s as a dark period, and persisted that because of the activity of the Shingeki movement, foreign plays were needed instead of low-level original plays. This study examines the characteristics of original plays and foreign plays publicly performed at the Tsukiji Little Theater to analyze the "controversy of translated foreign plays versus original plays". The Tsukiji Little Theater mostly put on shows with a strong sense of resistance or that defied the old times. This caused there to be a lot of emphasis put on the rebellious mindset towards old conventions and ideologies for most of the plays, both foreign and original, and the problem arises that little mind was paid to the integrity or beauty of the works. In looking at the "value of kabuki", this paper looked into Kaoru Osanai, who was deeply involved in kabuki actors. He evaluated traditional Japanese arts highly not because of the literary value of their scripts, but because he recognized the value of how they were performed. In order to create a new spectacle, music, dance and mime was taken in from countries around the world, and kabuki was regarded highly as a means of expression on stage. Finally, we also examine the recognized reasons for treating Shinpa as a rival. There is a relationship between these reasons and a complex about the audiences they drew. The Shinpa performances always had many spectators and were successful, but those at the Tsukiji Little Theater were so unpopular with the public that it was hard for them to financially run their theater group. The empty seats in their theater constantly made the modern intellectuals in the Shingeki movement feel inferior.

• (The) Research of the performance art and culture
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• no.36
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• pp.255-287
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• 2018

This article deals with one of the pansori master's life and activities. Bak Songhui(1927~2017), who was the holder of National Intangible Cultural Asset No. 5 for pansori Heungboga. She had played a significant role through the modern history of pansori genre including Yeoseong Gukkeuk(Korean classical opera by women) and Changgeuk(Korean traditional opera in pansori style) as well as original pansori itself. In the article, the early stage of her learnings and the way she got involved to pansori from Gwonbeon period are offered, and the activities by group, solo recitals, and educational activity lists are also provided. Bak Songhui began to learn pansori, Geommu(dance), Seungmu(dance), Gayageum, Yanggeum, and Gagok genres at her age of 13 in Gwangju. She fulfilled 5 years of study in Gwangju Gwonbeon, and entered to a Hyeomnyulsa-travelling theater company, led by Gim Yeonsu at her age around 19. Later, Bak used to be an actress in Yeoseong Gugak Donghohoe(Female Korean music fans' club) led by Gim sohui as well as in Haennim Gukkeukdan, and Saehan Gukkeukdan at around her age of 30. She took the main actress' role in several performances. And thanks to her effort, the Yeoseong Gukkeuk can be one of the representative genre in history. As she entered to the National Changgeuk company, her brilliant talents worked well by leading the company's big hit with her talents of taking many different characters, devotions, and know-hows from her experience. After her 70s, she kept the pansori go on its right way to pass down. She unfolded pansori performances as well as her own students' public presentations, recordings, TV and radio broadcasting activities as the holder of National Intangible Cultural Asset. The activities that Bak Songhui showed us can become another chance to make her a great master of pansori, especially in Dongpyeonje style.