• Cross-Cultural Studies
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• v.53
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• pp.131-161
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• 2018

Emotional expressions are expressions that show the internal condition of mind or consciousness. Types of emotional expressions include vocabulary that describes emotion, the composition of sentences that expresses emotion such as an exclamatory sentence and rhetorical question, expressions of interjection, appellation, causative, passive, adverbs of attitude for an idea, and a style of writing. This study focuses on vocabulary that describes emotion and analyzes the aspect of translation when emotional expressions of 'Hu(怖)' is shown on "Kokoro". The aspect of translation was analyzed by three categories as follows; a part of speech, handling of subjects, and classification of meanings. As a result, the aspect of translation for expressions of Hu(怖)' showed that they were translated to vocabulary as they were suggested in the dictionary in some cases. However, they were not always translated as they were suggested in the dictionary. Vocabulary that described the emotion of 'Hu(怖)' in Japanese sentences were mostly translated to their corresponding parts of speech in Korean. Some adverbs needed to add 'verbs' when they were translated. Also, different vocabulary was added or used to maximize emotion. However, the correspondence of a part of speech in English was different from Korean. Examples of Japanese sentences that expressed 'Hu(怖)' by verbs were translated to expression of participles for passive verbs such as 'fear', 'dread', 'worry', and 'terrify' in many cases. Also, idioms were translated with focus on the function of sentences rather than the form of sentences. Examples, what was expressed in adverbs did not accompany verbs of 'Hu (怖)'. Instead, it was translated to the expression of participles for passive verbs and adjectives such as 'dread', 'worry', and 'terrify' in many cases. The main agents of emotion were shown in the first person and the third person in simple sentences. The translation on emotional expressions when a main agent was the first person showed that the fundamental word order of Japanese was translated as it was in Korean. However, adverbs of time and adverbs of degree tended to be added. Also, the first person as the main agent of emotion was positioned at the place of subject when it was translated in English. However, things or the cause of events were positioned at the place of subject in some cases to show the degree of 'Hu(怖)' which the main agent experienced. The expression of conjecture and supposition or a certain visual and auditory basis was added to translate the expression of emotion when the main agent of emotion was the third person. Simple sentences without a main agent of emotion showed that their subjects could be omitted even if they were essential components because they could be known through context in Korean. These omitted subjects were found and translated in English. Those subjects were not necessarily humans who were the main agents of emotion. They could be things or causes of events that specified the expression of emotion.

• Cross-Cultural Studies
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• v.44
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• pp.315-342
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• 2016

There exists a general misunderstanding of the Musical as being both a dramatic genre and a musical genre. This misunderstanding lies in the fact that music fills the role of the drama. In other words, there exist a series of narrative episodes that help the development of the drama and music generates the ambience that corresponds to each episode. In this case, music is subordinated to the drama and thus becomes secondary. However, this paper seeks to show that in the Musical, musical composition is so strongly linked to the development of the drama that it is through the musical development that the drama unfolds. This paper seeks to explore this view through one of the most successful musicals of our time, Les $Mis{\acute{e}}rables$. A musical adapted from a novel is not the retrenchment of a series of episodes from the original novel. The process of dramatizing the novel compels the musical creators to observe what to draw out as a dramatic action. The interesting points of a musical consist of how the musical creator has reflected his understanding of the fiction through the composition of the music. This is why this paper has created a table analyzing the forty musical compositions in Les $Mis{\acute{e}}rables$. This table is meant to visualize the musical motifs employed in this play in order to explain the relationship between the musical composition and the development of the drama. The theme of Les $Mis{\acute{e}}rables$ lies in the transformation of Jean Valjean. His change includes the process of transformation from a thief to finding Jesus and his denial of being a sinner to his confessions of sinning. This paper explores the transformation of the dramatic action of Jean Valjean, which is symbolized by such themes as Misery, Love and Name established in musical form. The dramatic conflict between Jean Valjean and Javert as well as between Jean Valjean and $Th{\acute{e}}nardier$ is also explored through the composition of music. The success of Les $Mis{\acute{e}}rables$ lies in its successful constitution of music that embodies the in depth interpretation of the original play.

• Cross-Cultural Studies
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• v.41
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• pp.351-379
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• 2015

In the Andes regions of Latin America continents, groups of diverse native tribes are intensively distributed.Among these tribes, the Aymara compose the most representative group of natives along with the Quechua. Especially, the Aymara who are concentrated on the border areas of Peru and Bolivia centered on Lake Titicaca have pursued common identity forming the same cultural area although they belong to different nations. In the meantime, the Aymara have maintained a sense of fellowship while emphasizing historicity and specialty, which are differentiated with groups of other natives based on a language constituting identity of the tribe. However, recently, focused on Puno State as the center of the border areas of both countries, the tribe's conflicts come to the surface. After being divided by the artificial boundary line, which was formed in the course of building modern countries after the independence, natives of Latin America started to emphasize differences simultaneously with cultural similarity in the frame of cooperation and competition. Together with the historical contexts, lately, focused on the border areas of Peru and Bolivia, as the same tribe came to be bound by the frameworks of different nations respectively, a new tribal conflict is being developed. Though the Aymara unite emphasizing cultural and historical specialty and recognizing them as one tribe, when they conflict with each other over inner interest, a tendency to form the identity of differentiation and distinction appeared even in the inside of the tribe. Usually, disorder between tribes seems to be originated from intertribal strife, which coexists in one region. In case of the Aymara of Peru and Bolivia, centered on Puno State where both countries maintain the border, an aspect that the fellowship of the tribe, which was established through old history changes into conflict structures by realistic conditions comes out. In understanding this point, this study analyzed the historical origin of the conflict of the Aymara and the deepened cause of the tribal disorder.

• Journal of Korean Theatre Studies Association
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• no.52
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• pp.189-228
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• 2014

The purpose of this research was to summarize Korea and China's researches on Noh and to examine main domain in this field, by investigating the academic books and articles published in two countries. In 1960s, since Nohgaku has been introduced to China, academic articles on Zeami's theories and aesthetics have emphasized on aesthetic characteristics of Chinese plays and Japanese Nohgaku through the similarities of oriental plays. The number of researches on Kabuki is almost twice as that of researches on Noh in China. While most researches on Kabuki were compared with the styles and music of Pecking Opera and the theatrical theories of liyu[李漁], those on Noh has been highlighted the comparative studies on $Y{\bar{o}}kyoku$[謠曲], Chinese Noh plays. The main difference among the researches on $Y{\bar{o}}kyoku$ in Korea and China was the material regarding characters of Noh. Because song yuanzaju[宋 元雜劇]and Nohgaku in Chinese-Japanese plays were the mature form of the classic plays and those were representative of traditional nation plays, this researches tried to ascertain the cultural origins of two countries regarding the aesthetic characteristics by referencing lyrical and narrative features[曲詞] of yuanzaju[元雜劇]and the classic waka of Nohgaku. While the comparative studies on Noh and song yuanzaju and kunqu[昆劇] in China were prevalent, national researches have emphasized on the inner world of the main character and dramaturgy through the verbal description of Noh. Especially, this research tried to investigate the inner world of the main character and the intention of the writers through the verbal description of Noh authorized in the history of the works. Also, the researches on Buddhism in the Middle Ages and religious background were examined significantly. In addition, the $Y{\bar{o}}kyoku$ has influenced on European modern playwrights and the comparative studies between the materials of $Y{\bar{o}}kyoku$ and Western modern plays were concerned. In Korea, the comparative studies on Noh between Korea abd Japan has been most focused on the origin theory of Noh. The fact that appearance theory of Noh had originated from Sangaku was common opinion among Korean, Chinese, and Japanese scholars. However, they are agree with the opinion that according to the formation of the different genres, Noh's mainstream was different among three countries despite of the same origin. Yuan drama and Noh play have the same origin, but different branch. In relation to the Noh's origin theory, there are literature comparative studies in religious background, the studies presumed the origin of instrumental music related to those in mask plays, and the comparative studies between Korean mask plays and $ky{\bar{o}}gen$ of Nohgaku. Kyogen is the Comedy inserted among the stories in Nohgaku performed in just one day. Therefore, $ky{\bar{o}}gen$ must be discussed separately from the relations of 'shite[任手]'s inner action veiled with masks. This research figured out that the lacking points of the two countries' researches were the acting methods of Noh. Academic articles written by foreign scholars studying Korean and Chinese theatres should be included when this issue will be dealt with. In Korea and China, translation studies and writings regarding Nohgaku have studied by those who are major in Japanese literature or oriental literature. This case is the same in Korea in that scholars whose speciality is not theatre, but Japanese literature has studied. Therefore, this present study can give a good grasp of whole tendency on Nohgaku's research in theatre fields.

• Journal of the Korean Society of Radiology
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• v.12 no.6
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• pp.755-762
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• 2018

The purpose of this study was to compare the FA(faractional anisotropy) and ADC(apparent diffusion coefficient) values, which were derived from diffusion tensor imaging in breast cancer patients. The diffusion gradient used in this study was derived from quantitative diffusion indices using 20 directions(b-value, 0 and $1,000s/mm^2$). Quantitative analysis was analyzed using Pearson's correction and qualitative analysis using for correction coefficients. As a result, $FA_{min}$, $FA_{mean}$ and $FA_{max}$ were $0.098{\pm}0.065$, $0.302{\pm}0.142$ and $0.634{\pm}0.236$, respectively(p > 0.05). The $ADC_{min}$, $ADC_{mean}$ and $ADC_{max}$ were $0.741{\pm}0.403$, $1.095{\pm}0.394$ and $1.530{\pm}0.447$, respectively(p > 0.05). The $FA_{min}$, $FA_{mean}$, and $FA_{max}$ mean values were $0.132{\pm}0.050$, $0.418{\pm}0.094$, and $0.770{\pm}0.164$ for Category 6 and Kinetic Curve Pattern III, respectively. $ADC_{min}$, $ADC_{mean}$, and $ADC_{max}$ were $0.753{\pm}0.189$, $1.120{\pm}0.236$, and $1.615{\pm}0.372$, respectively. Quantitative analysis showed negative correlation between $ADC_{mean}-FA_{mean}$ and $ADC_{max}-FA_{max}$(p = 0.001, 0.003). The qalitative analysis showed ADC 0.628(p = 0.001), FA 0.620(p = 0.001) in the internal evaluations, ADC 0.677(p = 0.001), FA 0.695(p = 0.001) in external evaluations. In conclusion, based on the morphological examination, time to signal intensity graph is the form of wash-out(pattern III) in the dynamic contrast enhance examination, As a result, the $ADC_{mean}$ $1.120{\pm}0.236$ and $FA_{mean}$ values were $0.032{\pm}0.142$ with a negative correlation (Y=1.44-1.12X). Therefore, If we understand the shape of time to signal intensity graph and the relationship between ADC and FA, It will be a criterion for distinguishing malignant diseases in breast cancer.

• Journal of dental hygiene science
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• v.18 no.6
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• pp.380-388
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• 2018

This research team extracted keywords from 953 papers published in the Journal of Dental Hygiene Science from 2001 to 2018 for keyword and centrality analyses using the Keyword Network Analysis method. Data were analyzed using Excel 2016 and NetMiner Version 4.4.1. By conducting a deeper analysis between keywords by overall keyword and time frame, we arrived at the following conclusions. For the 17 years considered for this study, the most frequently used words in a dental science paper were "Health," "Oral," "Hygiene," and "Hygienist." The words that form the center by connecting major words in the Journal of Dental Hygiene through the upper-degree centrality words were "Health," "Dental," "Oral," "Hygiene," and "Hygienist." The upper betweenness centrality words were "Dental," "Health," "Oral," "Hygiene," and "Student." Analysis results of the degree centrality words per period revealed "Health" (0.227), "Dental" (0.136), and "Hygiene" (0.136) for period 1; "Health" (0.242), "Dental" (0.177), and "Hygiene" (0.113) for period 2; "Health" (0.200), "Dental" (0.176), and "Oral" (0.082) for period 3; and "Dental" (0.235), "Health" (0.206), and "Oral" (0.147) for period 4. Analysis results of the betweenness centrality words per period revealed "Oral" (0.281) and "Health" (0.199) for period 1; "Dental" (0.205) and "Health" (0.169) for period 2, with the weight then dispersing to "Hygiene" (0.112), "Hygienist" (0.054), and "Oral" (0.053); "Health" (0.258) and "Dental" (0.246) for period 3; and "Oral" (0.364), "Health" (0.353), and "Dental" (0.333) for period 4. Based on the above results, we hope that further studies will be conducted in the future with diverse study subjects.

• The Korean Journal of Archival Studies
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• no.55
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• pp.39-71
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• 2018

The purpose of this study is to examine the reality of the records management of the National Assembly members and suggest a desirable alternative. Until the Public Records Management Act was enacted in 1999, the level of the records management in the National Assembly was not beyond that of the document management in both the administration and the legislature. Rather, the National Assembly has maintained a records management tradition that systematically manages the minutes and bills since the Constitutional Assembly. After the Act was legislated in 2000, the National Assembly Records Management Regulation was enacted and enforced, and the Archives was established in the form of a subsidiary organ of the Secretariat of the National Assembly, even though its establishment is not obligatory. In addition, for the first time, an archivist was assigned as a records and archives researcher in Korea, whose role is to respond quickly in accordance with the records schedule of the National Assembly, making its service faster than that of the administration. However, the power of the records management of the National Assembly Archives at the time of the Secretariat of the National Assembly was greatly reduced, so the revision of the regulations in accordance with the revised Act in 2007 was not completed until 2011. In the case of the National Assembly, the direct influence of the executive branch was insignificant. As the National Assembly had little direct influence on the administration, it had little positive influence on records management innovation under Roh Moo-Hyun Administration. Even within the National Assembly, the records management observed by its members is insignificant both in practice and in theory. As the National Assembly members are excluded from the Act, there is no legal basis to enforce a records management method upon them. In this study, we analyze the records management problem of the National Assembly members, which mainly concerns the National Assembly records management plan established in the National Archives. Moreover, this study proposes three kinds of records management methods for the National Assembly members, namely, the legislation and revision of regulations, the records management consulting of the National Assembly members, and the transfer of the dataset of administrative information systems and websites.

• The Korean Journal of Archival Studies
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• no.59
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• pp.207-275
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• 2019

This archiving project of the survivors of suicide was done with the survivor supporting team of the Seoul Suicide Prevention Center. The survivor supporting team was operating a Self-help Support Group for the emotional support of the survivors of suicide. A Self-help Support Group is a place for the survivors of suicide to regularly meet and share their suffering by talking of topics hard to discuss elsewhere. As the Self-help Support Group progressed members who acted as the leader of the group appeared. They formed an essay group that writes together. Two fathers who lost their sons, two mothers who lost their daughters, a mother who lost her son, a wife who lost his husband. The essay group met each week in a place facing Sajik Park. Through the windows that took up the whole side of the room, evening was coming in. The things that happened during the day went away towards Inwang mountain following the setting sun. Ten people (six members of the essay group, three from the survivor support team, a historian for unique conversation) sat around a table, facing each other. "Now, what shall we do?" History for unique conversation is a time that archives life by sharing conversations. At times a complete stranger, and other times people who share their ordinary lives sit around together (3-9 people, sometimes about 15). On the table there is coffee, bread, fruits and salads, and sometimes a dish someone heartily prepared. When a bottle of wine is placed on the table, each takes a glass. Morning, afternoon, the time the evening is welcomed in, late night. It does not matter which. For six months, 3 hours when meeting every week, 6 hours when at every other week. A room where the ambience is like that of a kitchen where sunlight enters, or a cozy living room is the best location. However, there are many times when it is held in a multipurpose room in the suburbs where many meetings are held, or in a classroom of a school. The meeting place is decided according to different situations of the time. There are no participation requirements as it is said to be for themselves to write down according to archiving form while looking back their lives thoroughly, and they are the only ones to stop themselves. The archives landscape from far away would seem like trying to do some talking. However, when going into a microscopic situation one must leave themselves to the emotional dynamics. It is because it archives the frustration and failures one experienced through life. A participator of history for unique conversation must face the sufferings of their life. The archiving project took place in 2013 to 2014. Many years have passed. Has the objective distance for archiving the situation of that time been secured? That may be uncertain, but I will speak of a few stray thoughts on archiving while depicting the process and method of operation.

• Journal of The Korean Association For Science Education
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• v.39 no.3
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• pp.363-377
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• 2019

This study reveals the aspects of subjectivity in the test results in a science-specific aspect when assessing science-related affective characteristic through self-report items. The science-specific response was defined as the response that appear due to student's recognition of nature or characteristics of science when his or her concepts or perceptions about science were attempted to measure. We have searched for cases where science-specific responses especially interfere with the measurement objective or accurate self-reports. The results of the error due to the science-specific factors were derived from the quantitative data of 649 students in the 1st and 2nd grade of high school and the qualitative data of 44 students interviewed. The perspective of science and the characteristics of science that students internalize from everyday life and science learning experiences interact with the items that form the test tool. As a result, it was found that there were obstacles to accurate self-report in three aspects: characteristics of science, personal science experience, and science in tool. In terms of the characteristic of science in relation to the essential aspect of science, students respond to items regardless of the measuring constructs, because of their views and perceived characteristics of science based on subjective recognition. The personal science experience factor representing the learner side consists of student's science motivation, interaction with science experience, and perception of science and life. Finally, from the instrumental point of view, science in tool leads to terminological confusion due to the uncertainty of science concepts and results in a distance from accurate self-report eventually. Implications from the results of the study are as follows: review of inclusion of science-specific factors, precaution to clarify the concept of measurement, check of science specificity factors at the development stage, and efforts to cross the boundaries between everyday science and school science.

• Korean Journal of Heritage: History & Science
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• v.44 no.4
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• pp.56-69
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• 2011

A Gamsil is an ritual instrument which enshrine the ancestral tablets of four lines from late great-great-grandfather and grandmother to late father and mother. This has their soul. Juja's "Garye" informs its structure pattern. It is placed in Sadang and takes the form of a perfectly square box. It partitions four rooms and enshrine an ancestral tablet room by room. They get the ancestral tablets line up from west to east. And they also enshrine the ancestral tablets without his descendant together in Gamsil. A Gamsil is a space to enshrine the ancestral tablets and to place an order within a family. A social status and A family economic power become a standard in making and managing Sadang. Kingdom in Joseon period limited the ancestral tablets considering of his degree of official rank which descendant enshrined. A official servant can be stable economically in getting a stipend and build sadang in the house. While household a little in economic enshrine the ancestral tablets at a Gamsil placed at the a space of private home. His personal circumstances make size and pattern, place change in relation to Gamsil. A Gamsil looks like house in structure and pattern. It has the immortality of the soul. And it changed from a table size to a ancestral tablet size. This Gamsil is comfortable to move and is made considering of the width and height of household. The transition of Gamsil means institutions is in close to a family economic power in social change. Kingdom in Joseon early period makes a policy of a Gamyo's build and an ancestral enshrine in basement of Juja's "Garye". The transition of Gamsil gave a common people limitted socially and institutionally the service of late four lines. Most of people enshrine the ancestral tablets of their four lines in approaching of in the late of Joseon Dinasty. They compromise on their reality and cause. The transition of Gamsil implied many different things in social ; the authenticity search and a dignity expression of his family, the foundation for the diffusion of an ancestral service, a space sharing with ancestor and descendent, the increment of a family economic power etc.