• 보건세계
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• v.46 no.2 s.510
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• pp.16-19
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• 1999

이비인후과는 귀, 코, 목에 생기는 여러 가지 질병의 진단과 치료를 담당한다. 이비인후과 질환은 만성화된 경우가 대부분이어서 짧은 시일 안에 치료가 되지 않을 뿐만 아니라 치료된 후에도 재발을 잘 하는 특징이 있다. 이런 이유로 환자들이 주저하거나 비현실적인 공포감을 가지게 되어 질병에 대한 적절한 이해가 요구된다.

• Journal of architectural history
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• v.21 no.2
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• pp.7-20
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• 2012

As the corner of wooden pagoda forms the roof by closely bordering left and right eaves on the various purlins and angle rafters, it is designed for every face to be recognized as front whose structure system increases load to bear proportionally. The corner of wooden pagoda is inseparable with the corner bracket set as it becomes stable thanks to the corner bracket set structurally and load burden under restrained structure makes the corner bracket set really important. Accordingly, this study could figure out some facts by analyzing corner bracket sets of Palsangjeon of Beobjusa Temple in Korea, Seokgatap of Bulgungsa Temple in China and Ojungtap of Beobryungsa Temple in Japan which were constructed with pure wooden structure. This study demonstrated that corner bracket set played a pivotal role in keeping balance of concentrated load of corner (corner of opening) in each floor that contributed to the stability of wooden pagoda structurally despite multiple duplications of floors and also figured out the outfit of corner bracket set was subject to the floor type and the cross section of Gongpo installed on top of Pyeongju. Wooden pagodas in 3 countries were two floor types of octagon and square, and employed different connection method between upper and lower floors. The difference between floor and duplication method determines the method of corner, but even different methods were sufficient to have entirety in every side by completing dynamic principle of corner bracket set even though old method had to solve the problem of concentrated load and it also confirms that it was essential Gongpo to prevent any deformation of corner.

• Korean Journal of Heritage: History & Science
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• v.48 no.3
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• pp.96-119
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• 2015

This research has studied the changes of Gwi-po(轉角包) by taking the cases of China's medieval wooden buildings as objects. The purpose of the study is to examine the time-periodic transition process of Gwi-po through the cases of 71 wooden buildings which were built from Tang(唐) dynasty(AD 618~690 & 705~907) until Jin(金) dynasty(AD 1115~1234) and also designated as 'Major Historical and Cultural Sites Protected at the National Level'. This research has taken note of various frame types of Jwau-dae(左右隊), which are architectural components of Gwi-po, to study the changes and development process of Gwi-po. The results are as follows. An important factor in the transformations of Gwi-po format is the changes in perception of the craftsmen about Jwau-dae, who took charge in the building process. In the early periods, the principles of Yidou sanshen dougong(一斗三升) in constructing ancons of Gwi-po had been well-maintained, while there appeared many different types of Gwi-po in later periods, due to the usage of Jwau-dae and $Shu{\check{a}}$ $t{\acute{o}}u$(?頭) in each Chulmok of Gwi-po. Transitional types of Gwi-po, which were evolved from the earlier ones, are divided into 3 categories by different forms of Jwau-dae, placed on odd number stages. The first one is 'none-$f{\bar{a}}ng$ $t{\acute{o}}u$(無枋頭) type' of Song(AD 960~1127, 1127~1279) and Liao dynasty(AD 907~1125) buildings, which doesn't have $f{\bar{a}}ng$ $t{\acute{o}}u$(枋頭)s, for the reason that Jwau-dae(左右隊) is in direct contact with Gwihan-dae(耳限大). The second one is '$Shu{\check{a}}$ $t{\acute{o}}u$ $f{\bar{a}}ng$ $t{\acute{o}}u$(?頭枋頭) type' of Song(AD 960~1127, 1127~1279) and Jin dynasty(AD 1115~1234), that has $f{\bar{a}}ng$ $t{\acute{o}}u$(枋頭)s of Jwau-dae(左右隊) identical to $Shu{\check{a}}$ $t{\acute{o}}u$(?頭) in form. The last one is '$Xi{\check{a}}o$ $g{\check{o}}ng$ $t{\acute{o}}u$(小?頭) type' of Jin(AD 1115~1234) and Yuan dynasty(AD 1271~1368), which has $f{\bar{a}}ng$ $t{\acute{o}}u$(枋頭)s of Jwau-dae identical to $Xi{\check{a}}o$ $g{\check{o}}ng$ $t{\acute{o}}u$(小?頭) in form. The earlier forms of Gwi-po, which appeared between Tang dynasty(AD 618~690 & 705~907) and Five Dynasties periods(907~960) went through transitional forms of 'non-$f{\bar{a}}ng$ $t{\acute{o}}u$(無枋頭) type', '$Shu{\check{a}}$ $t{\acute{o}}u$ $f{\bar{a}}ng$ $t{\acute{o}}u$(?頭枋頭) type' and '$Xi{\check{a}}o$ $g{\check{o}}ng$ $t{\acute{o}}u$(小?頭) type' and finally had its form settled between Yuan(元, AD 1271~1368) and Ming(明. AD 1368~1644) dynasty periods. In Liao(遼) dynasty period(AD 907~1125), as the buildings got bigger and the tendency of longer eave-exposure was implemented, there grew a certain need to structurally reinforce Gwi-po, on which load of the whole roof is concentrated. Especially, the transition from Tōuxīn $z{\grave{a}}o$(偸心造) style to Jì xīn $z{\grave{a}}o$(計心造) style in this period had a great influence on standardization of Gwi-po, along with None-${\acute{A}}ng$(無仰) style. Furthermore, Wing-type Gong(翼型?), which developed in Liao dynasty(AD 907~1125), is also thought to have had a great influence on the transition from Tōuxīn $z{\grave{a}}o$(偸心造) style to Jì xīn $z{\grave{a}}o$(計心造) style by changing the forms of Gongs(?), such as Gwi-po. However, unlike None-${\acute{A}}ng$(無仰) style, there occurred a gradual change from '$Shu{\check{a}}$ $t{\acute{o}}u$ $f{\bar{a}}ng$ $t{\acute{o}}u$(?頭枋頭) type' to '$Xi{\check{a}}o$ $g{\check{o}}ng$ $t{\acute{o}}u$(小?頭) type' of Gwi-po in $Xi{\grave{a}}$ ${\acute{a}}ng$ style.

• Journal of the Korean Society of Child Welfare
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• no.32
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• pp.33-68
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• 2010

The aim of the present study is to understand the lived experiences of sexual violence in childhood and adolescence. Qualitative methodology, which allows us to directly meet individuals who experienced sexual violence, see their experience, and qualitatively analyze their experience was employed. More specifically, I conducted in-depth interviews with 6 woman who experienced sex abuse in their childhood and adolescence, and analyzed their experience using categorization and theme analysis methods. The key themes that were derived from the qualitative data include, 'On the day out of the ordinary; Unspeakable terror', 'Why did this kind of thing happen to me', 'Trying not to loss my senses; Unspeakable suffering, unable to speak', 'I hate myself', 'Forgetting wasn't the end; Would it be okay if I speak out' 'Becoming conscious creates more confusion', 'I know that it is not my fault', 'Internalized social norms', 'Denial of feminity', 'Confusion and recovery'. Based on these findings, I propose a practice guideline to help woman who experienced sexual abuse during childhood and adolescence, and implications for future studies.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.349-392
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• 2019

In the 1960s of Korea, the normalization of diplomatic relations between Korea and Japan led to a sense of a vigorous anxiety and fear that "Japan will once again come to the Korean peninsula". As a reaction to this, the discourse on the criticism of 'Japanese Style' strongly emerged. If the prior discourse of criticism was to express the national antipathy toward the colonial remnants that had not yet been disposed of, the critical discourse of the 1960s was the wariness of the newly created 'Japanese Style' in popular culture, and to grasp it as a symptomatic phenomenon that 'evil-minded Japan' was revealed. Thus, this new logic of criticism of the 'Japanese Style' had a qualitative difference from the existing ones. It was accompanied by a willingness to inspect and censor the 'masses' that grew up as consumers of transnational 'mass culture' that flowed and chained in the geopolitical order under the Cold War system. Therefore, the topology of 'popular things=Japanese things=consuming things' reveals the paradox of moral demands that existed within Korean society in the 1960s. This was to solidify the divisive circulation structure that caused them to avoid direct contact with the other called 'Japan', but at the same time, get as close to it as ever. It is a repetitive obsession that pushes the other to another side through the moral segregation that strictly draws a line of demarcation between oneself and the other, but on the other hand is attracted to the object and pulls it back to its side. This paper intends to listen to the different voices that have arisen in the repetitive obsession to understand the significance of the dissonance that has been repeated in the contemporary era. This will be an examination of the paradoxical object of Japan that has been repeatedly asked to build the internal control principle of Korean society, or to hide the oppressive and violent side of the power, and that can neither be accepted nor destroyed completely as part of oneself.