• Anatomy & Biological Anthropology
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• v.31 no.4
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• pp.133-142
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• 2018

3D histology is a imaging system for the 3D structural information of cells or tissues. The synchrotron radiation propagation phase contrast micro-CT has been used in 3D imaging methods. However, the simple phase contrast micro-CT did not give sufficient micro-structural information when the specimen contains soft elements, as is the case with many biomedical tissue samples. The purpose of this study is to develop a new technique to enhance the phase contrast effect for soft tissue imaging. Experiments were performed at the imaging beam lines of Pohang Accelerator Laboratory (PAL). The biomedical tissue samples under frozen state was mounted on a computer-controlled precision stage and rotated in $0.18^{\circ}$ increments through $180^{\circ}$. An X-ray shadow of a specimen was converted into a visual image on the surface of a CdWO4 scintillator that was magnified using a microscopic objective lens(X5 or X20) before being captured with a digital CCD camera. 3-dimensional volume images of the specimen were obtained by applying a filtered back-projection algorithm to the projection images using a software package OCTOPUS. Surface reconstruction and volume segmentation and rendering were performed were performed using Amira software. In this study, We found that synchrotron phase contrast imaging of frozen tissue samples has higher contrast power for soft tissue than that of non-frozen samples. In conclusion, synchrotron radiation propagation phase contrast cryo-microCT imaging offers a promising tool for non-destructive high resolution 3D histology.

• (The) Research of the performance art and culture
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• no.37
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• pp.391-435
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• 2018

This is the first study in Musicology that discusses the features of Kangwon Sangkangrye(the pre-lecture ritual in Buddhism). In this thesis, I reviewed and compared the similarity and uniqueness between Kangwon Sangkangrye in "Seokmunuibom" and the one being performed these days. The musical relation between the performance shown in the historical record and the one in contemporary ritual was illustrated here based on the findings derived from the anlaysis on its bell(小鐘) performance. The analysis made upon musical sources recorded on-site shows the characteristics of contemporary Kangwon Sangkangrye. Following is a brief summary of this study. The review and comparison between Kangwon Sangkangrae in "Seokmunuibom" and the one being performed these days showed that the second type, which was significantly different from the first type, was closer to that of the historical record. The performers at Unmunsa Temple and Chungamsa Temple seemed to be following the tradition bell(小鐘) performance style which was found in the text of the historical record. Through the analysis on Kangwon Sangkangrae, I found that it has musical characteristics as follows. The vocal range of type 1 and type 2 was mostly performed within Minor 7th and didn't exceed the perfect 8th. The melodic structure of type 1 starts with do'-la of naedeureum and ended with the melody which downscaled from do' and finalized from mi to la. Usually the mode was in menari-tori but at some lecture halls a few cases found to be upscaled from sol to la which differentiates it from the typical menari-tori of folk songs. Like the typical way of traditional rites, the singing was divided into two parts: the leading call and the following choral response. Most were sung to be one syllable on one or two tones or one syllable lasting for several tones and the musical forms were varied by musical pieces. Meantime, Sangkangrae at Haeinsa Temple was differed from that of the other temples in terms of ritual procedure and vocal style. It added Korean version of and the lead vocal skipped the first phrase of the Sasul. The melodic structure of Type 2 started with do'-la of naedeureum and was finalized as the same way of Type 1. The mode of was not the same as typical menari-tori but the Jeongrye(prostration) and Balweon(a great vow) were identical to the menari-tori of folk songs. The singing was done in two forms, solo and unison, and the lyric-attachment of Gesong was one syllable for one or two tones and that of Jeongrye and Balweon were one syllable for one or two tones + one syllable for several tones. The musical form of Jeongrye is A-B-C and A-C. Balweon didn't display a certain periodicity but still maintained sense of unity and formality through repetition of the finalizing melody.

• Journal of Korean Society of Spine Surgery
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• v.25 no.4
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• pp.160-168
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• 2018

Study Design: Retrospective study of prospectively-collected data. Objectives: To determine the factors associated with conversion from conservative to surgical treatment in single-level lumbar spinal stenosis patients. Summary of Literature Review: Various reports have presented clinical outcomes after the surgical and nonsurgical treatment of spinal stenosis. However, few reports have investigated factors predicting conversion to surgery during the course of conservative treatment. Materials and Methods: We analyzed 40 patients who visited our hospital from May 2010 to May 2015 and were traceable for at least 3 years after being advised to undergo surgery following 3 months of conservative treatment. Of these patients, 20 underwent surgery and 20 did not. We then investigated the factors associated with conversion to surgical treatment. Clinical assessments were conducted using a questionnaire, and the overall area of the spinal canal and the muscle area within the spinal canal were measured using magnetic resonance imaging. Results: The average area of the spinal canal was $81.40{\pm}53.61mm^2$ in the surgical group, compared to $127.75{\pm}82.55mm^2$ in the nonsurgical group (p=0.042). The muscle area in the spinal canal was $5.17{\pm}1.30cm^2$ in the surgical group, whereas it was $6.40{\pm}1.56cm^2$ in the nonsurgical group (p=0.010). The patients in the surgical group were more likely to have experienced repetitive strain and to have frequently visited health clubs (p=0.047, p=0.037, respectively). However, regular stretching was more common in the nonsurgical group (p=0.028). Conclusions: The factors associated with conversion to surgical treatment were a narrow spinal canal, a small muscle area within the spinal canal, visiting health clubs, repetitive sprain, and not stretching. A small muscle area within the spinal canal can be considered as a key factor related to surgical conversion.

• Journal of Korean Philosophical Society
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• v.131
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• pp.199-222
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• 2014

This essay aims at clarifying Dasan Jeong Yagyong's view on Jingfang's yaobian theory. As is well known, Jingfang was a scholar of the Earlier Han period who exerted a profound influence on the theoretical development of Xiangshu School by creating the various techniques for interpreting the Zhouyi. Jingfang is also important in relation with Dasan's commentary of the Zhouyi, because some part of Dasan's interpreting techniques are thought to have their origin in Jinfang. For example, Dasan used the bigua theory of which the origin could be traced back into Jingfang. However, in this article, I did not deal with the bigua theory because I am going to write another article about it. In stead, my focus will be put on analyzing how Dasan evaluated Jingfang's yaobian theory. The main issues of my argument can be summarized as following. Firstly, in terms of yaobian, Jeong Yagyong called attention to Jingfang's annotation on the Zhouyi in which Jingfang utilized the yaobian method in three occasions, i.e., the first nine of the Qian(乾初九), the sixth nine of the Guan(觀上九), and the sixth nine of the Bo(剝上九). It seems that Jeong Yagyong set forth enough evidence about Jingfang's use of yaobian at least in relation to two cases of the first nine of the Qian and the sixth nine of the Bo, while the other evidence of the sixth nine of the Guan was not so persuasive. However, even if it is evident that Jingfang made use of the yaobain in two cases, there is no reason to equate it with that of Dasan. If one takes a close look, it becomes clear that Jingfang's way of yaobain is very different from Dasan's. Secondly, Jeong Yagyong mentioned Jiayi(賈誼) who lived about one hundred years before Jingfang, as the person who utilized the yaobian in his book of Xinshu(新書). If it is certain that Jiayi was aware of the yaobian, we can assume that the yaobian technique had been handed down from Jiayi to Jingfang. The manuscript excavated from the Mawangdui tomb also increases the possibility that Jiayi could have had the knowledge on the yaobian. In the chapter of Muhe(繆和) of the Mawangdui Zhouyi, there appears the phrase, i.e., "the first six of the qian, qian goes to mingyi," which shows exactly the same form of the yaobian in the Mr Zuo's Spring and Autumn Annals(春秋左氏傳). The burial period of Mawangdui tomb is estimated at the same year of B.C.168 in which Jiayi died. Therefore, judging from that fact, it becomes evident that the yaobain method was widely diffused around B.C.168. Subsequently, it is possible to infer that the yaobian method had been handed down from the period of Jiayi to Jingfang. If we could present the persuasive evidence to support that inference, it would also have the effect of consolidating Dasan's argument about the yaobian.

• (The) Research of the performance art and culture
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• no.36
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• pp.693-724
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• 2018

This article was started to find a way for creating a performance out of Gut. In order to find such way, the first thing that had to be done was to organize the Gut performances that had been made until now. It was to organize the existing study on the performances and to seek a different way from it, believing that the virtue of a performance is to 'create diversity'. However, it was not easy to organize the Gut performances, which became full-scale in the 1980s, because they were never organized before. Therefore, based on my direct and indirect experience, I have organized the most important performances in chronological order. Most importantly, as the planners of the performances (can sometimes be a group or an organization instead of an individual) are the ones who make the show possible, I have noted on them with keen interest. The National Folk Art Performance Contests in Korea, Theater 'Space Sarang', The Association of Gut, Theater 'Madangsesil', Seoul Nori Madang, and National Gugak center were the center space and planning body of the Gut performances. Recording the history of Gut is a worthwhile work of its own. However, it is a substantial amount of task to be done with individual effort, and it has to be progressed as a public project in order to promote and spread its value. Therefore, this article raises the need for it. Meanwhile, as stated earlier, this article has recorded the history of Gut performances as a precondition to finding a way to create a performance out of Gut. From the experimental organization of the Gut performances history, I could find out that most of the performances had the people who did Gut as the main body and the method of the Gut performance did not significantly deviate from just reenacting the original Gut at the time of when it was performed. Therefore, I have introduced Shinmyeong, the Nori-Pae (troupe), and TheGwangdae, the Korean Traditional Performance troupe, who create Madangguk from various Gut materials. By refining the wholly complicated performance elements of the Gut, it could escape from the 'reenacting' performance to becoming a material or a metaphor for a whole new performance.

• Cross-Cultural Studies
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• v.48
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• pp.361-389
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• 2017

This essay examines 'precarity politics' by Judith Butler, a well-known gender theorist and queer philosopher, in Notes Towards a Performative Theory of Assembly (2015) focused on concepts as unchosen cohabitation of Hannah Arendt and unwilled proximity of Emmanuel Levinas. Butler's precarity politics is the condition of our dispossessed political beings with fundamental vulnerability and interdependency that cannot choose with whom we will live on this Earth. Butler's political ethics is twofold: on one hand, she examines significance of 'action'' the most significant vita activa in the public area, and 'plurality'' the condition-not only the necessary condition but the possible condition-for a political life suggested by Hannah Arendt in Human Condition; on the other hand, Butler reflects upon global precarity based on a diasporic precarious life in the social world towards freedom and equality. Unchosen cohabitation of plural humans on Earth, and global pervasion of precarity, that indicates "politically induced condition in which certain populations suffer from failing social and economic networks of support and become differentially exposed to injury, violence, and death," so called "differential distribution of precariousness," are practical possibilities of ethical and equal cohabitation of different ethnic groups in the social world. Ethical obligations or ethical demand to respond to others' suffering in distance and proximity originated from precarity politics, mentioned in Precarious Life, Parting Ways, and Frames of War, could be non-foundational joint of plural people living together globally. We should presume the 'reversibility' of distance and proximity in others' suffering, based on responsiveness and responsibility of others, if we want to stay attuned to the pain of others we never chose to live together. That is the significance of Butler's 'precarity politics' with 'ethical obligation' to accept 'unchosen plurality' of living population on Earth, and 'reversibility between of distance and proximity,' in her 'new plural and embodied body politics' or 'new corporeal ontology', through human primary vulnerability, fundamental interdependency, being exposed and responsive to suffering of others.

• The Korean Journal of Blood Transfusion
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• v.29 no.3
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• pp.253-261
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• 2018

Background: A massive blood transfusion (MT) requires significant efforts by the Blood Bank. This study examined blood product use in MT and emergency O Rh Positive red cells (O RBCs) available directly for emergency patients from the Trauma Center in Ajou University Hospital. Methods: MT was defined as a transfusion of 10 or more RBCs within 24 hours. The extracted data for the total RBCs, fresh frozen plasma (FFP), platelets (PLTs, single donor platelets (SDP) and random platelet concentrates (PC)) issued from Blood Bank between March 2016 and November 2017 from Hospital Information System were reviewed. SDP was considered equivalent to 6 units of PC. Results: A total of 345 MTs, and 6233/53268 (11.7%) RBCs, 4717/19376 (24.3%) FFP, and 4473/94166 (4.8%) PLTs were used in MT (P<0.001). For the RBC products in MT and non-MT transfusions, 28.0% and 34.1% were group A; 27.1% and 26.0% were group B; 37.3% and 29.7% were group O, and 7.5% and 10.2% were group AB (P<0.001). The ratios of RBC:FFP:PLT use were 1:0.76:0.72 in MT and 1:0.31:1.91 in non-MT (P<0.001). A total of 461 O RBCs were used in 36.2% (125/345) of MT cases and the number of O RBCs transfused per patient ranged from 1 to 18. Conclusion: RBCs with the O blood group are most used for MT. Ongoing education of clinicians to minimize the overuse of emergency O RBCs in MT is required. A procedure to have thawed plasma readily available in MT appears to be of importance because FFP was used frequently in MT.

• Cross-Cultural Studies
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• v.50
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• pp.313-346
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• 2018

It is noted that generally speaking, the expressing of actualization or non-actualization of events is not the main role of possibility for the utilization of expressions. In spite of this fact, it is possible to see many examples in which possibility expressions represent actual events, and impossibility expressions represent a type of non-actualization in relation to events. This effect can be described as a semantic extension, by which the participant-internal possibility is extended to actualization due to participant-internal factors, and the participant-external possibility is extended to the actualization due to participant-external factors. When the related possibility expressions are used in this extended sense, they express the dynamic evaluative meaning of 'desirability' of the realized event, while it is determined that when the impossibility expressions are used in this extended sense, they are seen to express the evaluative meaning of 'regretfulness' about the non-actualization of the event. In Modern Japanese, it is noted that there are a few expressions of ability and possibility. They can be largely divided into four types of expressions, according to their origins or uses of expression, which are 'ability verbs', affixes '-れる/られる(-reru/rareru)', '-できる(-dekiru)', and '-得る(-eru)'. They can all express participant-internal possibility and participant-external non-deontic possibility. While 'ability verbs', affixes '-れる/られる' and '-できる' can express participant-external deontic possibility, '-得る' cannot. However, '-得る' is the only possible element to designate the event of a epistemic possibility. Also, the four types of expressions have the usage of conveying 'actualization/non-actualization,' as is the case of the Korean language. However in Japanese, in fact adjectives cannot be associated with 'ability verbs' or 'ability affixes.' Thus the expressions of 'regrets' should in that case depend on the use contexts, unlike the expression 'adj+-지 못하다' as noted in Korean. The ability and possibility in Modern Chinese are mainly expressed by means of the four auxiliary verbs '能($n{\acute{e}}ng$)', '会(huì)', '可以(kěyǐ)' and '可能 ($k{\check{e}}n{\acute{e}}ng$)'. '能' and '会' along with '可以' can all convey participant-internal possibility. In this way '能' and '可以' can express participant-external possibility. Only '会' and '可能' can express epistemic possibility. As for 'actualization,' among the four auxiliary verbs, only '能' can represent actualization. Also, among the negatives of the four auxiliary verbs, only '沒能' can represent non-actualization.

• Journal of Korean Philosophical Society
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• v.131
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• pp.303-330
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• 2014

Les avis des philosophes sur la mort sont $diff{\acute{e}}rentes$ selon leurs visions du monde. Certains essaient de surmonter la peur sur la mort, en $n{\acute{e}}gligeant$ la mort, et certains essaient de vivre le vraie vie par la $m{\acute{e}}ditation$ de la mort. Chez Kierkegaard la notion de la mort se $pr{\acute{e}}sente$ comme key-world $tr{\grave{e}}s$ important, et cela signifie qu'il parle par la mort une vie $s{\acute{e}}rieuse$ et vraie. Pour Kierkegaard la mort signifie d'abord la mort de la vie mondaine ou la $n{\acute{e}}gation$ de soi, cela est en faveur de sa conception de la nature humaine $o{\grave{u}}$ l'homme est fondamentalement un ${\hat{e}}tre$ $probl{\grave{e}}matique$ et ${\grave{a}}$ la fois ceuli qui a un rapport avec $l^{\prime}{\acute{e}}ternel$. Le $d{\acute{e}}sespoir$ de l'homme sur la vie $pr{\acute{e}}sente$ peut devenir 'la maladie qui entraîne la mort' c'est-${\grave{a}}$-dire la mort spirituelle, mais il peut donner aussi une chemin par laquelle l'homme se dirige en tant qu'individu vers l'Absolu. Chez lui ${\hat{e}}tre$ $s{\acute{e}}rieux$ signifie devenir existentiellement par la $n{\acute{e}}gation$ de soi. Et l'absence de la $sinc{\acute{e}}rit{\acute{e}}$ signifie l'absence de soi en tnat $qu^{\prime}{\hat{e}}tre$ spirituel. Ainsi la $pens{\acute{e}}e$ $s{\acute{e}}rieuse$ sur la mort $n^{\prime}{\acute{e}}tant$ autre chose que de penser la mort comme la partie de $l^{\prime}{\hat{e}}tre$ $pr{\acute{e}}sent$, elle devient la source ${\acute{e}}nergique$ qui permet de vivre pleinement le $pr{\acute{e}}sent$ comme $r{\acute{e}}alit{\acute{e}}$ $li{\acute{e}}$ ${\acute{a}}$ $l^{\prime}{\acute{e}}ternit{\acute{e}}$. Sa $pens{\acute{e}}e$ $s{\acute{e}}rieuse$ sur la mort permet d'avoir une conviction religieuse par laquelle l'homme peut penser la mort corporelle comme aventure $li{\acute{e}}e$ ${\grave{a}}$ $l^{\prime}{\acute{e}}ternit{\acute{e}}$ et par laquelle l'homme peut penser aussi la vie $apr{\grave{e}}s$ la mort comme vraie vie que les justes avaient $d{\acute{e}}sir{\acute{e}}s$. Cette $pens{\acute{e}}e$ de Kierkegaard sur la mort signifie le sens $m{\acute{e}}taphysique$ sur la mort au sens $o{\grave{u}}$ elle est une $r{\acute{e}}alit{\acute{e}}$ $v{\acute{e}}cue$, et aussi la $pens{\acute{e}}e$ qui ${\acute{e}}claircit$ la sagesse des philosophes antiques ${\grave{a}}$ la perspective $chr{\acute{e}}tienne$ qui dit philosopher, c'est apprendre ${\grave{a}}$ mourir.

• Cross-Cultural Studies
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• v.50
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• pp.77-101
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• 2018

Even in our modern era, the projection of monsters in the recent literature contains the critical imagination of human existence for the posthuman age. The meaning of the monster-abject, especially as from the perspective of feministic criticism, contains criticism of the violent and oppressive patriarch as observed in the modern times. This article focuses on the gendered imagination of the discussions of the "abject" discussed by Julia Kristeva, and the "monstrous femine" discussed by Barbara Creed. Kim Eon-Hee's poems and Han Kang's novels, which have been examined extensively for analysis, show that the practical strategy of abject that goes beyond hate and sublime, wonder and joy through the imagination and concepts of monsters. The monster-abject strategy of Kim Eon-Hee's poem can be summarized by the narrative method of mirroring and the imagination of the truncated body. Mirroring falsification, which mimics the male speaker, is a method that some feminists strategically utilize in relation to the problem of female aversion in recent years as noted in the literature. In Kim Eon-Hee's poem, "becoming a man" and "imitating a man," through the method of mirroring appear as an image of cutting to dismantle the body. In that way, the narrative strategy of the abject that draws out abominations and bizarre effects which contains a strong critique of the patriarchal dominant ideology. The monster-abject strategy of Han-Kang's novel is embodied through the being of plants and the process of vegetarian-anorexia process. The world of the adject which was oppressed in the Han-Kang's novel, returns to the senses of the body through the symbol of the body. It is noted that the fictional characters who realize the repressed desire through the pathological symptom expressed by the female, go on to body perform active transformation. The sense of a body in a novel is not only a rejection of the world of animalman-civilization, but also a radically questioning of the noted and recognized boundaries between human beings and non-human being entities. The two writer's works show that the imagination of the monster-adject is not limited to rejecting the existing gender categories, but also goes in the direction of exploring the possibilities of various associated gender actions.