• Journal of dental hygiene science
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• v.16 no.4
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• pp.263-271
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• 2016

This study aimed at comprehending the duty, role, and difficulty of intermediary manager through in-depth investigation of dental hygienist intermediary managers experienced over 10 years working in a dental clinic. In-depth interviews were conducted with 10 dental intermediary managers and Giorgi's analysis method was used to analyze the data. Findings revealed that the work experience of the dental hygienist intermediary managers appeared in the range of "becoming an intermediary manager through various processes", "various duties that they experience as an intermediary manager", "difficulty as an intermediary manager", "ability that they perceive as necessary for being a dental intermediary manager", and "worthiness they feel as the intermediary manager". The dental intermediary managers complained of difficulties at work, and appeared to perform various tasks such as human resource management, clinic management support, and patient's management. Accordingly, the researcher considers that research on dental intermediary managers' capacity development necessary.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.135-158
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• 2019

The purpose of this paper is to elucidate the characteristics that make Guillermo del Toro's film Pan's Labyrinth (2006) a fantasy film, and the meaning and function of the labyrinth motifs closely related to it. Tzvetan Todorov defined the 'fantastic' as the hesitation between natural and supernatural interpretations in the face of supernatural events that invade reality. In Pan's Labyrinth, the fantastic continues to be seen, because the film does not allow the hesitation to disappear; thus, the fantastic does not enter the 'uncanny' genre or 'marvelous' genre, and because it keeps its fantastic state. In this case, the labyrinth symbolizes art as a passage into the fantastic world and a space that represents it. Rosemary Jackson saw the fantasy as a "literature of desire to compensate for a lack resulting from cultural constraints" and thus repeatedly dealing with unconscious materials. Del Toro's film shows the character of the fantastic as an expression of desire by allowing 'family romance' to take place in the fantastic world. In this case, the labyrinth symbolizes the mind as a place of desire. Kathryn Hume defined fantasy as a reaction to reality, like mimesis, and 'departure from consensus reality.' The film, operating in a 'vision' genre, satisfies its definition by allowing the fantastic world to illuminate the reality world through 'contrastive' technique, and brings out the fantastic it has. In this case, the labyrinth symbolizes the world as a mirror of the world of reality. Thus, Pan's Labyrinth is representative of fantastic film in that the fantastic functions very effectively, and the labyrinth appearing in this film can be evaluated as a motif that is full of meaning by symbolizing all three elements of art, world and mind. The significance of this paper is to shed light on how a motif works in a particular genre through the above considerations.