• Journal of Korean Classical Literature and Education
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• no.38
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• pp.103-138
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• 2018

This study examines the modern succession, transformation and significance of enjoyment methods of classical literature (art) with a focus on the characteristics of those methods that appeared when the performances of the traditional era began to be displayed on the stage of the theaters in modern Seoul. The clues to the reasons for this type of enjoyment can be found in newspapers, magazine articles, and advertisements from the early 20th century. The emergence of stage theaters at the beginning of the modern era caused a sweeping change in the performance environment, including the fact that it was possible for all kinds of people to enjoy art beyond the existing socioeconomic hierarchies or barriers of status, that the performers were given employment through the theater, and that the audience had the tendency of the general public of an unspecified number because the audience was able to see the performances only by paying the viewing fee. The way of enjoying traditional performances also changed based on these new adaptations: the performances were sequential, show-oriented, and re-contextualized as public performances. It is significant that in the traditional era, performers and audiences had been segregated according to their status and a strict hierarchy; now, such cultural norms were breaking down in favor of a kind of equality. In addition, it was possible for the audience to experience sensory enjoyment, and theater brought about a new kind of popular consumer enjoyment of an artistic product. Of course, though, it is possible to look back and find problems related to the contemporary context, but the traditional performances, which were the main performances for the lower class, took the first place on the modern theater stage, and as a result, no one can deny that it became possible to move forward in the first phase of an era of public performance.

• (The)Study of the Eastern Classic
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• no.68
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• pp.409-437
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• 2017

The curiosity of the human afterlife created many imaginations. The Death Angel's Character are also the product of this imagination. This is because we needed a connection between this world and the otherworld in human' imaginations. The Death Angel revealed in detail in Shamanistic Epics. First, It is the person who performs the task assigned by The King of the Otherworld. Second, It is a person who can go to this world and the otherworld. Third, It is the person who takes the deceased to the otherworld. Fourth, It is the person who takes out the soul of human and modify the life list. Fifth, It is the person who sympathetic and humane qualities. This The Death Angel's character is actively accepted in modern contents. The most representative works are <49 Days>, , . Contemporary content, but the otherworld and the afterlife were accepted. And The Death Angel played an important role. Of course, this process also happens that modern changes. Namely, Function and personality retains existing character. And the appearance and background change a modern sense. As a result, The Death Angel became a new character through the encounter between the past and the present.

• Journal of The Korean Association For Science Education
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• v.29 no.6
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• pp.730-740
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• 2009

The purpose of this study was to investigate secondary science teachers' brain activation and functional connectivity during scientific observation on the biological phenomena. Twenty six right-handed healthy science teachers volunteered to be in the present study. To investigate science teachers' brain activities during the tasks, 3.0T fMRI system with block design was used to measure BOLD signals in their brains. The SPM2 software package was applied to analyze the acquired initial image data from the fMRI system. The results have shown that the left inferior frontal gyrus, the bilateral superior parietal lobule, the left inferior parietal lobule, the left precuneus, the left superior occipital gyrus, the right middle occipital gyrus, the right precuneus, the left inferior occipital gyrus and bilateral fusiform gyrus were significantly activated during participants' scientific observation. The network model consisted of eleven nodes (ROIs) and its ten connections. These results suggested the notion that scientific observation needs a connective cooperation among several brain regions associated with observing over just a sensory receiving process.

• Cartoon and Animation Studies
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• s.41
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• pp.533-552
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• 2015

The environment of images in VR-based animation is constructed to generate and promote interactivity between the images and the viewer without any physical space like a screen, or a monitor. In this process, the images and the viewer are combined as a complex through the media technology, that is, an interface. And it is far more in the case of the animation consisted of the bio-feedback interface closely connecting with the body of viewer. As a result, the viewer experiences a permeable interaction between ego and images world, namely virtual reality. That is different from the way of seeing and interpreting the images from a distance. So it needs to analyse the perception of viewer in the world of virtual images. This paper examines the complex phenomena of both the VR-based animation and the viewer mediated by the interface in light of Media Aesthetics. Media Aesthetics is effective in analysing the phenomena of VR-based animation, for it is concerned with the perception of viewer mediated by the media technology. The perception in VR-based animation is a full-body immersion, or embodied immersion, and it is different from the contemplative immersion in that it is remediated continuously by the technological apparatus. The viewer as an immersant, especially with a bio-feedback interface, can immediately touch and control the images in VR-based animation. Such an immersion, therefore, is new every single moment. And the world of VR-based animation is ultimately constructed through the viewer's full-body, or embodied immersion crossing between the virtual and the real. So the animation is not interpreted, but embodied. And the meaning of it is constructed and reconstructed by the viewer's embodied immersion as an immersant. Here, a new frame of animation more oriented to the viewer's participation as an full-body immersant can be created.

• Journal of the Korean Institute of Landscape Architecture
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• v.43 no.4
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• pp.1-14
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• 2015

In the West, of the body's five senses sight is considered the most important but Ocular-centralistic thinking contains many issues. Privileging the subject and inhibiting interaction with the other senses, Ocular-centrism limits the experience of the world to the visual area. However, experiences can be understood as 'touching' various forms and are related to touch. With the heightened interest in the multi-sensuous side of the body contrary to Ocular-centrism, the intervention of the body in the external space has become an important issue in modern landscape architecture. This study explores the possibility of the haptic perception system that causes the active experience of a subject. Haptic perception plays a catalytic role leading an active experience of the subject and the subject experiences a sense of place through such haptic perception. By revealing what was known through the sense of touch through the concurrency and interaction of the various senses, haptic perception draws active participation The haptic perception system has been studied in various fields but has not been studied in the field of landscape architecture. Thus, this study discusses the aspect of haptic perception limited to landscape architecture shown before modernism. In a discussion on haptic perception, the concept of haptic perception is clarified through previous study reviews and literature and the characteristics of haptic perception are derived. Then, the problems of the Ocular-centrism system and the need for haptic perception are discussed. In the historical development process of haptic perception, the change process of the scopic regime is examined chronologically and the ways in which Ocular-centralistic thinking and anti-Ocular-centralistic thinking have been projected on the architecture and landscape architecture of each age are studied via literature and cases studies. The impact of the scopic regime on the landscape architecture field in the historical change process is examined.

• The Korean Journal of Nuclear Medicine
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• v.36 no.3
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• pp.155-165
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• 2002

Purpose: The aim of this study was to identify the brain areas whose regional cerebral blood flow (rCBF) was changed in medial temporal lobe epilepsy (mTLE) using ${H_2}^{15}O-PET$. Materials and Methods: 12 patients with mTLE (6 left, 6 right mTLE) and 6 normal controls were scanned during a fixation baseline period and a sensory-motor condition where subjects pressed a button to an upward arrow. A voxel-based analysis using SPM99 software was peformed to compare the patient groups with the normal controls for the rCBF during fixation baseline period and for relative changes of rCBF during the sensory-motor task relative to fixation. Results: During the fixation baseline, a significant reduction of rCBF was found posterior insula bilaterally and right frontopolar regions in right mTLE patients compared to the normal controls. In left mTLE patients, the reduction was found in left frontopolar and temporal legions. During the sensory-motor task, rCBF increase over the fixation period, was reduced in left frontal and superior temporal legions in the right mTLE patients whereas in various areas of right hemisphere in left mTLE patients, relative to normal controls. However, the increased rCBF was also found in the left inferior parietal and anterior thalamic/fornix regions in both right and left mTLE patients compared to normal controls. Conclusion: Epilepsy induced changes were found not only in relative increase/decrease of rCBF during a simple sensory-motor control condition relative to a fixation rest condition but also in the relative rCBF distribution during the rest period.

• The Journal of Korean Academy of Sensory Integration
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• v.21 no.1
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• pp.59-73
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• 2023

Objective : To examine changes in participation patterns of children with Autism Spectrum Disorder (ASD) in play activities during COVID-19 by reviewing relevant literature. Methods : This scoping review was conducted via five steps. we created a research question and searched for relevant literature published in English through CINAHL, PubMed, ERIC, MEDLINE, Google Scholar and Google search engine. After selecting the literature based on inclusion criteria, data were charted based on 10 items (i.e., author name, journal name, publication year, nation, authors' majors, research method, participant' age and gender as well as quantitative and qualitative results of study). The results were analyzed using descriptive numerical and thematic analyses. Results : After reviewing 437 articles and 152 websites, six articles were included. Theses articles were conducted by experts from various fields and countries. Five themes were highlighted in selected articles: COVID-19 resulted in (1) decreased time of outdoor play, (2) increased play time on screen, (3) increased time spent with family, (4) increased sensory difficulties, and (5) recommendations for services for children with disabilities and during COVID-19. Conclusion : This study suggests telerehabilitation programs about parental behavior strategies in order to solve difficulties in which children with ASD may experience when participating in play activities during disasters. Study results can be used as fundamental evidence to emphasize importance of play activities and to systematize role of occupational therapists and service guidelines for supporting play activities of children with disabilities in disasters.

• Sijohaknonchong
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• v.23
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• pp.107-131
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• 2005

The purpose of this is to make sure what the scholar of the Choseon thought the object of aesthetics, and which psychological element did they use to clear the center of the aesthetics. In addition, I consider their way to recognize the human's aesthetic point of view. A literary man in Choseon regarded the five senses as an obstacle which interrupted to see the nature of all things. So they set up the spiritual condition as their aesthetic subject, with suppressing the pleasure through five senses. The goal to make one's mind calm was to cause someone's spirit to activate freely. The condition of the calmness was considered as a process of recovering the human's natural spirit, which was connected to the poetic spirit and became the aesthetic subject. Simultaneously, a literary man at that time set up the condition of the calmness as a subject of objective consciousness, and estimated the common things as a objective existence, which led to the result that all the materials of the poem and the poet could be unified. This aesthetic centra put a premium on the senses caused by contacting with all natural things, and adopted the 'Xing' as a method of expression. This 'Xing' is not a sense based upon one's experience, but a sense which is created of itself. The expression method of 'Xing' caused the reader to feel and express, encourage, and sublimate what they feel through the poem, as well as purified reader's mind.

• Journal of Popular Narrative
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• v.25 no.3
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• pp.303-345
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• 2019

This article analyzes the multi-layered communication in the Webtoon Princess Pari, released on the Daum portal site, created (written and illustrated) by Kim Naim, through analyzing the narrative structure and comments with the qualitative / quantitative methodology. The webtoon Princess Pari is structured in an omnibus style in which unit narratives are intermittently articulated, multi-lined, and interconnected. As integrated narratives which link with unitary narratives, Pari's growth story as a shaman and a romance narrative are structured. The classical original story of the shaman was used as a prehistory corresponding to the prequel of the webtoon through a preview, and the writer restructured the narrative to overcome the contradictions of the gender asymmetry and the patriarchal ideology of the original text. The viewer then creates a conversational space by giving critical and reflective comments. According to a statistical analysis conducted through sampling, the types of comments can be classified as follows: Appreciation and criticism of the contents ≫ Emotional response ≫ Intuitive overall review ≫ Knowledge and reflection ≫ Comments on comments. In the process of creation and acceptance of the Webtoon, a multi-layered dialogue between classical and modern, content and audience, acceptance and creation has been at play. In the creation dimension, the writer used a device to fill the gap of mythical symbols of the contents. At the level of the audience, they formed a culture of sharing information, knowledge, and reflection about tradition/folk/culture through comments. This corresponds to classical and modern dialogue through the webtoon. The viewers form a sympathetic bond, attempt hermeneutical coordination, supplement the information, and search for a balanced angle through controversial conversation. In addition, by commenting on attitudes, views, and perspective, the commentators showed a behavioral pattern corresponding to meta-criticism in literature. The viewers' comments acted as feedback on the creation of the webtoons, so that the creation and acceptance itself influenced the production of the content of the webtoon. The webtoon Princess Pari, which was based on Korean classical narrative, has been reorganized onto 'moving and dynamic' content, which leads to sense, thinking, criticism and reflection through the formation of various dialogues.

• The korean journal of orthodontics
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• v.27 no.2
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• pp.283-296
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• 1997

Stomatognathic system is a complex one that is composed of TMJ, neuromuscular system, teeth and connective tissue, and all its components are doing their parts to maintain their physiological relationships. Mandible, in particular, performs various functions such as mastication, speech, and deglutition, the muscular activities that determine such functions are signalled by numerous types of proprioceptors that exist in periodontal membrane, TMJ, and muscles to be controlled by complicated pathways and mechanics of peripheral and central nervous system. Orthodontic treatment, especially when accompanied by orthognathic surgery, brings dramatic changes of stornatognat is system such as intraoral proprioceptors and muscle activities and thus, changes in patterns of mandibular function result The author tried to analyze changes in patterns of mandibular movement and physiologic activities of surrounding muscles in Skeletal Class III ortlrognathic surgery patients who presently show a great increase in numbers. The purpose of this study was to draw some objective guidelines in evaluating funclierual aspects of orthognathic surgery patients. Mandibular functional analysis using Biopak was performed for skeletal Class III prognathic patients who underwent IVRO(lntraoral Vertical Ramus Osteotmy), and the following results were obtained: 1. Resting EMG was greater in pre-surgical group than the control group, and it showed gradual decrease after the surgery. Clenching EMG of masseter and anterior temporalis of pre-surgical group was smaller than those of control group, they also increased post-surgically, and significant difference was found between pre-surgical and post-surgical(6 months) groups. 2. Resting EMG of anterior ternporalis was greater than that of all the other muscles, but there was no significant difference. Clenching EMG of anterior temporalis and masseter were greater than those of the other muscles with statistical difference. In swallowing, digastric muscle showed the highest EMG with statistical significance. 3. Limited range of mandibular movement was shown in pre-surgical group. Significant increase in maximum mouth opening was observed six months post-surgically, and significant increase in protrusive movement was observed three months post-surgically.