• Journal of Hospice and Palliative Care
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• v.13 no.2
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• pp.109-119
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• 2010

Purpose: This study was a part of a drive to develop a community health center-based hospice management model which is concerned with hospice care at a community health care setting and available resources of the local community. Methods: Development of a community health center-based hospice management model involved evaluation of existing hospice-related research, including literature review, and research on hospice facilities at the study site, as well as evaluation of model operation. The latter involved community health center-based hospice test operation, and evaluation of test operation by a research team, including of a nursing professor majoring in hospice care and staffs from a community health center in Busan metropolitan city, regional cancer center, and regional terminal cancer patient medical institute. The study was conducted in the 2008 calendar year. Results: The community health center-based hospice management model provides service linked with local community resources, focusing on the local community health center. Financial and administrative assistance is provided by the regional cancer center, with collaboration from academic health care professionals who guide the operation management. The community health center hospice nurse in consultation with a visiting nurse team registers terminally-ill cancer patients and, after assessment, the hospice team prioritize hospice care during team meeting. Care is delivered by staffs and volunteers. Conclusion: The developed community health center-based hospice operation management model maximally utilizes available community health resources to produce qualitative improvement of regional health and welfare policy through improving the lives of home-based cancer patients and their family who are in medical blind spot.

• Sijohaknonchong
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• v.42
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• pp.213-238
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• 2015

Jeongun(丁芸) Lee, Young-do (李永道), who is deemed a representative female poet of Korea, began her literary career in May, 1946 when she published in a publication called "Bamboo Sprout, (죽순)". Her Korean identity, which was formed through her Confucius upbringing as well as traditional value system of her family, had a strong presence in her work, and she remained a quintessential figure in Korea's female sijo poet circle for 30 years until her passing in 1976. Despite the highly acclaimed talent and her noble aspirations, it is undeniable that her works did not receive fair assessment due to her private life. Against this backdrop, it is necessary to deeply inquire the literary values and beauty of Young-do Lee's sijo. As mentioned, Young-do Lee is a solidly established figure in Korea's modern poetry. The following illustrates the spirit and the world of her poetry. First, Young-do Lee lived through turbulent times and it was her country that served as the source of her sijo work. Assessing the multitude of dramatic historical events such as Japanese colonization, 8.15 Liberation of Korea, division of the nation, 6.25 Korean war, 4.19 Revolution, 5.16 military coup, it is natural that patriotism was strongly present in her work who was one of the intellectuals at the time. Second, Young-do Lee is a poet who had experienced more pain than others in terms of the turbulence of the time. Her Korean identity, which was formed through her Confucius upbringing as well as traditional value system of her family, had a strong presence in her work. Third, Jeongun Lee, Young-do is a poet of longing. The abundance and richness of her emotions were fortified through the relationship with another poet, Chihwan Yu. Fourth, Young-do Lee is a poet opened up new horizons for the modennization. The transparency of image reflected in her work and the elaborate nature of her language are outstanding. In summary, Young-do Lee was a true artist, who has a strong presence in Korea's modern poetry society, and who was a poet of patriotism, poet who suffered the turbulence of the times, and a poet of longing.

• Sijohaknonchong
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• v.43
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• pp.177-206
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• 2015

This paper is written in order to research for the contents and expression of HanYongUn's Sijo. HanYongUn is very famous as monk and independent campaigner, modern poet in Korea. He wrote many kinds of literary works, for example, many modern poetry, modern novels, Sijo, Chino-Korean Poetry etc. It's very exceptional that he wrote a lot of Korean traditional Sijo and Chino-Korean Poetry. Because he was a many modern poet as same as modern novelist. So studying on his Sijo can help someone to understand the essence of HanYongUn's all literature. That's why I'm studying on HanYongUn's Sijo. The firstly, in aspect of the the contents of HanYongUn's Sijo, HanYongUn was expressing three kinds of themes, that is ideology, reality, daily life in his Sijo. The ideology consists of Buddhism and Confucianism and the reality is related with social conditions, the daily life is deeply connected with Nim. These features of his Sijo are different from his modern poetry and Chino-Korean Poetry which had a simple theme, for example, love with Nim, daily life. The secondly, in aspect of the expression of HanYongUn's Sijo, I studied the expression of HanYongUn's Sijo in three angles, that is, vocabulary and the developing of poet thinking, rhetorics. HanYongUn used essential words for expressing three kinds of themes effectively in his Sijo. And he was developing of his poet thinking by three steps in his Sijo. He applied several representative rhetorics to his Sijo, those are question and answer, exclamation, irony, distich etc. Even though I studied the characteristics of HanYongUn's Sijo in two aspects But there could be the other things to study about these kinds of theme. I might continue researching the other kinds of theme next time in the near future.

• Korean Journal of Heritage: History & Science
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• v.54 no.4
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• pp.152-173
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• 2021

The Large Banner was introduced during the Japanese Invasions of Korea with a new military system. It was a flag that controlled the movement of soldiers in military training. In addition, it was used in other ways, such as a symbol when receiving a king in a military camp, a flag raised on the front of a royal procession, at the reception and dispatch of envoys, and at a local official's procession. The Large Banner was recognized as a symbol of military dignity and training rites. The Large Banner was analyzed in the present study in the context of two different types of decorations. Type I includes chungdogi, gakgi and moongi. Type II includes grand, medium, and small obangi, geumgogi and pyomigi. Each type is decorated differently for each purpose. The size of the flag is estimated to be a square of over 4 ja long in length. Flame edges were attached to one side and run up and down The Large Banner used the Five Direction Colors based on the traditional principles of Yin-Yang and Five Elements. The pattern of the Large Banner is largely distinguished by four. The pattern of large obangi consists of divine beasts symbolizing the Five Directions and a Taoism amulet letter. The pattern of medium obangi features spiritual generals that escort the Five Directions. The pattern of small obangi has the Eight Trigrams. The pattern of moongi consists of a tiger with wings that keeps a tight watch on the army's doors. As for historical sources of coloring for Large Banner production, the color-written copy named Gije, from the collection of the Osaka Prefect Library, was confirmed as the style of the Yongho Camp in the mid to late 18th century, and it was also used for this essay and visualization work. We used Cloud-patterned Satin Damask as the background material for Large Banner production, to reveal the dignity of the military. The size of the 4 ja flag was determined to be 170 cm long and 145 cm wide, and the 5 ja flag was 200 cm long and 175 cm wide. The conversion formula used for this work was Youngjochuck (1 ja =30cm). In addition, the order of hierarchy in the Flag of the King was discovered within all flags of the late Joseon Dynasty. In the above historical study, the two types of Large Banner were visualized. The visualization considered the size of the flag, the decoration of the flagpole, and the patterns described in this essay to restore them to their original shape laid out the 18th century relics on the background. By presenting color, size, material patterns, and auxiliary items together, it was possible not only to produce 3D content, but also to produce real products.

• Cross-Cultural Studies
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• v.51
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• pp.257-257
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• 2018

Xinxu(新序) was published in Korea by 1492. Among the existing editions, the editions that can confirm the realities are the collections of Keimyung University, the Korean Studies Central Research Institute, Kyonggi University, Hujodang(後彫堂), and the National Assembly Library of Japan. The Keimyung University's precious book is the 'first published book', and the old book is the 'later published book' which covers pages 69-70 and 71-72 of the first published book. It is the 'later published book' that has the same side inscribed. The second books, the Central Research Institute of Korea Studies and the Kyonggi University Collection are the first published books, and the Hujodang and the National Assembly Library of Japan are on pages 9-10, 63-64, 87-88, 107-108. The corresponding side is the 'later published book'. Comparing the editions, it can be concluded that the existing editions of the previous editions have been withdrawn two times, and in the latter editions, the existing editions of four editions can also be confirmed to have been edited three times. In this paper, the literature based on the existing editions was studied and features of the Korean edition were presented. First, we examine the types of paragraphs. In principle, the text is composed of '11 lines and 18 characters', but on the actual version, the number of characters is shown in the table. In the Korean edition of the Joseon dynasty, a blank space appears in the original text. The erroneous letter in the Joseon book was identified the reason for the error was explained in detail.

• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.243-263
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• 2022

The royal court of Joseon had a tradition of mounting the Irworobongdo, a painting of the sun, the moon and the five sacred peaks, symbols of the king's immortal presence and authority, on a folding screen and placing it in special spaces within the palace that were reserved for the king. While the Irworobongdo is generally accepted as the important ceremonial object of the royal palaces of Joseon, there have been few studies on the various folding screens used in the royal palaces, largely because the official records about such screens do not match the remaining original relics. In this study, the main discussion is focused on the diversity of the shapes and mounting materials of the Irworobongdoused for various ceremonies held in the royal palaces of Joseon based on the Uigwe, the official records of the royal protocols of the Joseon dynasty. The discussion also extends to the theme rarely studied so far, namely the original form of the Irworobongdo and its evolution in the following period. The ceremonial "five peak" folding screens (Obongbyeong) used at a number of important palace buildings, including the crown hall (Jeongjeon), royal funerary hall (Binjeon), spirit hall (Honjeon) and portrait shrine (Jinjeon), differed in shape and size from the folding screens used in royal celebratory events such as banquets, although the paintings themselves and the style of mounting them were essentially the same. The paintings were mounted on screens bordered with green silk and ornamented with floral gilt designs. The folding screens used in royal ceremonies were produced according to strict guidelines that required the ceremonies and mounting materials to be graded on the basis of the status of each screen. It was not until the 1960s that these ceremonial folding screens of the Joseon dynasty, which had been neglected during the period of Japanese colonial rule of Korea, began to undergo conservation treatment provided as part of a heritage preservation program. Unfortunately, many of the screens repaired in this period lost some of their original features - largely due to the use of non-traditional mounting techniques. Considering, however, that significant achievements have since been made in the heritage preservation field based on the use of historical evidence, it is now necessary to systematically use the repair history of the information about the remaining royal ceremonial folding screens to ensure that they are preserved and managed more effectively in the future.

• Phonetics and Speech Sciences
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• v.16 no.2
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• pp.49-58
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• 2024

This study aimed to compare the acoustic measurements of speech samples recorded from individuals with normal voices using various devices: the Computerized Speech Lab (CSL), a unidirectional wired pin-microphone (WIRED) suitable for smartphones, the built-in omnidirectional microphone (SMART) of smartphones, and Bluetooth-connected wireless earphones, specifically the Galaxy Buds2 Pro (WIRELESS). This study included 40 normal adults (12 males and 28 females) who had not visited an otolaryngologist for respiratory diseases within the past three months. Participants performed sustained vowel /a/ phonation for four seconds and reading tasks with sentences ("Walk") and paragraphs ("Autumn") in a sound-treated booth. Recordings were simultaneously conducted using the four different devices and synchronized based on the CSL-recorded samples for analysis using the MDVP, ADSV, and VOXplot programs. Compared with CSL, the Cepstral Spectral Index of Dysphonia (CSID_V, CSID_S) and Acoustic Voice Quality Index (AVQI) values were lower in the WIRED and higher in the SMART. The opposite trend was observed for the L/H spectral ratios (SR_V and SR_S), and the WIRELESS demonstrated task-specific discrepancies. Furthermore, both the fundamental frequency (F0) and the cepstral peak prominence of the vowel samples (CPP_V) had intraclass correlation coefficient (ICC) values above 0.9, indicating high reliability. These variables, F0 and CPP_V were considered highly reliable for voice recordings across different microphone types. However, caution should be exercised when analyzing and interpreting variables such as the SR, CSID, and AVQI, which may be influenced by the type of microphone used.

• Journal of Intelligence and Information Systems
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• v.18 no.3
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• pp.53-77
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• 2012

This study analyses the difference of contents and tones of arguments among three Korean major newspapers, the Kyunghyang Shinmoon, the HanKyoreh, and the Dong-A Ilbo. It is commonly accepted that newspapers in Korea explicitly deliver their own tone of arguments when they talk about some sensitive issues and topics. It could be controversial if readers of newspapers read the news without being aware of the type of tones of arguments because the contents and the tones of arguments can affect readers easily. Thus it is very desirable to have a new tool that can inform the readers of what tone of argument a newspaper has. This study presents the results of clustering and classification techniques as part of text mining analysis. We focus on six main subjects such as Culture, Politics, International, Editorial-opinion, Eco-business and National issues in newspapers, and attempt to identify differences and similarities among the newspapers. The basic unit of text mining analysis is a paragraph of news articles. This study uses a keyword-network analysis tool and visualizes relationships among keywords to make it easier to see the differences. Newspaper articles were gathered from KINDS, the Korean integrated news database system. KINDS preserves news articles of the Kyunghyang Shinmun, the HanKyoreh and the Dong-A Ilbo and these are open to the public. This study used these three Korean major newspapers from KINDS. About 3,030 articles from 2008 to 2012 were used. International, national issues and politics sections were gathered with some specific issues. The International section was collected with the keyword of 'Nuclear weapon of North Korea.' The National issues section was collected with the keyword of '4-major-river.' The Politics section was collected with the keyword of 'Tonghap-Jinbo Dang.' All of the articles from April 2012 to May 2012 of Eco-business, Culture and Editorial-opinion sections were also collected. All of the collected data were handled and edited into paragraphs. We got rid of stop-words using the Lucene Korean Module. We calculated keyword co-occurrence counts from the paired co-occurrence list of keywords in a paragraph. We made a co-occurrence matrix from the list. Once the co-occurrence matrix was built, we used the Cosine coefficient matrix as input for PFNet(Pathfinder Network). In order to analyze these three newspapers and find out the significant keywords in each paper, we analyzed the list of 10 highest frequency keywords and keyword-networks of 20 highest ranking frequency keywords to closely examine the relationships and show the detailed network map among keywords. We used NodeXL software to visualize the PFNet. After drawing all the networks, we compared the results with the classification results. Classification was firstly handled to identify how the tone of argument of a newspaper is different from others. Then, to analyze tones of arguments, all the paragraphs were divided into two types of tones, Positive tone and Negative tone. To identify and classify all of the tones of paragraphs and articles we had collected, supervised learning technique was used. The Na$\ddot{i}$ve Bayesian classifier algorithm provided in the MALLET package was used to classify all the paragraphs in articles. After classification, Precision, Recall and F-value were used to evaluate the results of classification. Based on the results of this study, three subjects such as Culture, Eco-business and Politics showed some differences in contents and tones of arguments among these three newspapers. In addition, for the National issues, tones of arguments on 4-major-rivers project were different from each other. It seems three newspapers have their own specific tone of argument in those sections. And keyword-networks showed different shapes with each other in the same period in the same section. It means that frequently appeared keywords in articles are different and their contents are comprised with different keywords. And the Positive-Negative classification showed the possibility of classifying newspapers' tones of arguments compared to others. These results indicate that the approach in this study is promising to be extended as a new tool to identify the different tones of arguments of newspapers.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.230-250
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• 2013

possessed by Dong-A University Museum is designated as Treasure No. 595, and has been known for a more exquisite, delicate and realistic expression and a colorful three-dimensional structure compared to the 'grass and insect painting' work and its value in art history. However, it has not been analyzed and studied in fabric craft despite it being an embroidered work. This study used scientific devices to examine and analyze the Screen's fabric, thread colors, and embroidery techniques to clarify its patterns and fabric craft characteristics for its value in the history of fabric craft. As a result, consists of eight sides and its subject matters and composition are similar to those of the general paintings of grass and insects. The patterns on each side of the 'grass and insect painting' include cucumber, cockscomb, day lily, balsam pear, gillyflower, watermelon, eggplant, and chrysanthemums from the first side. Among these flowers, the balsam pear is a special material not found in the existing paintings of grass and insect. The eighth side only has the chrysanthemums with no insects and reptiles, making it different from the typical forms of the paintings of grass and insect. The fabric of the Screen uses black that is not seen in other decorative embroideries to emphasize and maximize various colors of threads. The fabric used the weave structure of 5-end satin called Gong Dan [non-patterned satin]. The threads used extremely slightly twisted threads that are incidentally twisted. Some threads use one color, while other threads use two or mixed colors in combination for three-dimensional expressions. Because the threads are severely deterioration and faded, it is impossible to know the original colors, but the most frequently used colors are yellow to green and other colors remaining relatively prominently are blue, grown, and violet. The colors of day lily, gillyflower, and strawberries are currently remaining as reddish yellow, but it is anticipated that they were originally orange and red considering the existing paintings of grass and insects. The embroidery technique was mostly surface satin stitch to fill the surfaces. This shows the traditional women's wisdom to reduce the waste of color threads. Satin stitch is a relatively simple embroidery technique for decorating a surface, but it uses various color threads and divides the surfaces for combined vertical, horizontal, and diagonal stitches or for the combination of long and short stitches for various textures and the sense of volume. The bodies of insects use the combination of buttonhole stitch, outline stitch, and satin stitch for three-dimensional expressions, but the use of buttonhole stitch is particularly noticeable. In addition to that, decorative stitches were used to give volume to the leaves and surface pine needle stitches were done on the scouring rush to add more realistic texture. Decorative stitches were added on top of gillyflower, strawberries, and cucumbers for a more delicate touch. is valuable in the history of paintings and art and bears great importance in the history of Korean embroidery as it uses outstanding technique and colors of Korea to express the Shin Sa-im-dang's 'Grass and Insect Painting'.