• Korean Journal of Heritage: History & Science
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• v.54 no.3
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• pp.126-149
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• 2021

The reign of King (later Emperor) Gojong of the Joseon dynasty (later the Korean Empire), which lasted from 1863 to 1907, was a period of turmoil caused by political and social instability at home and military incursions by foreign powers. It was also a period in which Joseon was proclaimed as the Korean Empire and, accordingly, the royal seals of the dynasty underwent a major change. Records show that some 135 seals were produced during the reign of Gojong. The present study of the makers and styles of the royal seals aims to reveal a wealth of information on the seals, which typically had handles in the shape of either a turtle or dragon. Among the seal makers of this era, Jeon Heung-gil was particularly highly regarded as a Golden Royal Seal Artisan (Geumbojang) because he was highly skilled at making both turtle and dragon handles. Kim Eun-seok, a master Jade Royal Seal Artisan (Okbojang), also excelled in the production of turtle and dragon handles for his jade seals. Another master Jade Royal Seal Artisan, Yi Jung-ryeo, is noteworthy because he developed a new style of jade royal seals, which eventually became the dominant style after 1890, when Kim Eun-seok was not active. Furthermore, after the 1890s, his style was also applied to the production of the gold royal seals and developed as the dominant style. Regarding the dragon handles adopted after the proclamation of the Korean Empire, both the golden and the jade royal seals were made in the same style by the same artisans in the service of the Joseon dynasty. They adopted the style of Chinese imperial seals when they began making seals with dragon handles for the Korean Empire, although the basic shapes of both handle and dragon were copied from those made during the Joseon period. As a ceremonial object symbolizing the authority and legitimacy of the royal or imperial family, the style of the royal seals was influenced mainly by changes in the political situation at home and abroad. As Gojong's reign was a period in which more royal seals were made than in the reign of any other ruler, the seals originating from his reign constitute a richer source of information about the efforts of the dynasty to preserve the tradition while effectively dealing with the changes of the new era.

• The Journal of Korean Society for Radiation Therapy
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• v.32
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• pp.61-71
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• 2020

Purpose: To investigate the effect of collimator angle on plan quality of PAN-Pelvis Multi-isocenter VMAT plan, dose reproducibility at the junction and impact on set-up error at the junction. Material and method: 10 adult patients with whole pelvis cancer including PAN were selected for the study. Using Trubeam STx equipped with HD MLC, we changed the collimator angle to 20°, 30°, and 45° except 10° which was the default collimator angle in the Eclipse(version 13.7) and all other treatment conditions were set to be the same for each patient and four plans were established also. To evaluate these plans, PTV coverage, coverage index(CVI) and homogeneity index (HI) were compared and clinical indicators for each treatment sites in normal tissues were analyzed. To evaluate dose reproducibility at the junction, the absolute dose was measured using a Falmer type ionization chamber and dose changes at the junction were evaluated by moving the position of the isocenter in and out 1~3mm and setting up the virtual volume at the junction. Result: CVI mean value was PTV-45 0.985±0.004, PTV-55 0.998±0.003 at 45° and HI mean value was PTV-45 1.140±0.074, and PTV-55 1.031±0.074 at 45° which were closest to 1. V20Gy of the kidneys decreased by 9.66% and average dose of bladder and V30 decreased by 1.88% and 2.16% at 45° compared to 10° for the critical organs. The dose value at the junction of the plan and the actual measured were within 0.3% and within tolerance. At the junction, due to set-up error the maximum dose increased to 14.56%, 9.88%, 8.03%, and 7.05%, at 10°, 20°, 30°, 45°, and the minimum dose decreased to 13.18%, 10.91%, 8.42%, and 4.53%, at 10°, 20°, 30°, 45° Conclusion: In terms of CVI, HI of PTV and critical organ protection, overall improved values were shown as the collimator angle increased. The impact on set-up error at the junction by collimator angle decreased as the angle increased and it will help improve the anxiety about the set up error. In conclusion, the collimator angle should be recognized as a factor that can affect the quality of the multi-isocenter VMAT plan and the dose at the junction, and be careful in setting the collimator angle in the treatment plan.

• (The) Research of the performance art and culture
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• no.25
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• pp.57-89
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• 2012

The performers preparing for a performance usually experience the process of mental transference, contacting with text (drama) for the first time. It is movement from their everyday life to space in the play, when they try to break the wall between cast and themselves. The transference happens actually at the physical space, such as a dressing room, wing, (place just before appearing at a stage), and a stage (place to contact with audience). Performers keep moving among each psychological and physical space repeatedly, until the performance finishes totally. The transference means moving to each space to another, and the mental borderline means the point of mental change the performers experience during the process of transference. The mental borderline can be guessed to exist through mental aspects the performers feel when they move from each space to another. The most typical example, that shows performer's mental borderline well, is stage fright shown as tension, or anxiety among the variety of aspects. According to a research, the most performers experience that kind of mental aspect just before appearing at a stage. The study on it is already referred by my article.' A Study on Korean Performer's Stage Fright. This study aims at examining the relationship among psychological and physical space the performers experience, mental borderline when transferring and penetrating those spaces, and performer's mental change First, the concept of mental borderline is to be understood totally with preceded research. And the space the performers experience and mental borderline at transference are to be reorganized. Secondly, the area of transference in the process of performance is to be reclassified into physical and mental space. Third, analyzing the actual case of performers experiencing the mental borderline, the diversified use should be searched to make use of mental borderline as a positive element. The psychological symptoms, performers experience in the performance, can have positive consequence beside negative one. The tension occurring at the area of borderline is positive, and it can be the actual borderline for the performers. It will be researched how the performers change at the mental borderline, the state of mind is maintained, and they perform in an overall performance, through the study on the relationship between the transference and the mental borderline. And the stress and concentration caused by stage fright, and shyness will be confirmed, and the positive element of a stage, which is used as various defense mechanism.

• Cross-Cultural Studies
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• v.40
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• pp.111-131
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• 2015

An unusual success engendering loyalty among cult fans in the United States, Mamoru Oshii's 1995 cyberpunk anime, Ghost in the Shell (GITS) revolves around a female cyborg assassin named Motoko Kusanagi, a.k.a. "the Major." When the news came out last year that Scarlett Johansson was offered 10 million dollars for the role of the Major in the live action remake of GITS, the frustrated fans accused DreamWorks of "whitewashing" the classic Japanimation and turning it into a PG-13 film. While it would be premature to judge a film yet to be released, it appears timely to revisit the core achievement of Oshii's film untranslatable into the Hollywood formula. That is, unlike ultimately heteronormative and humanist sci-fi films produced in Hollywood, such as the Matrix trilogy or Cloud Atlas, GITS defies a Hollywoodization by evoking much bafflement in relation to its queer, posthuman characters and settings. This essay homes in on Major Kusanagi's body in order to update prior criticism from the perspectives of posthumanism and queer theory. If the Major's voluptuous cyborg body has been read as a liberating or as a commodified feminine body, latest critical work of posthumanism and queer theory causes us to move beyond the moralistic binaries of human/non-human and male/female. This deconstruction of binaries leads to a radical rethinking of "reality" and "identity" in an image-saturated, hypermediated age. Viewed from this perspective, Major Kusanagi's body can be better understood less as a reflection of "real" women than as an embodiment of our anxieties on the loss of self and interiority in the SNS-dominated society. As is warned by many posthumanist and queer critics, queer and posthuman components are too often used to reinforce the human. I argue that the Major's hybrid body is neither a mere amalgam of human and machine nor a superficial postmodern blurring of boundaries. Rather, the compelling combination of individuality, animality, and technology embodied in the Major redefines the human as always, already posthuman. This ethical act of revision-its shifting focus from oppressive humanism to a queer coexistence-evinces the lasting power of GITS.

• Journal of Korean Classical Literature and Education
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• no.39
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• pp.137-180
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• 2018

This article examines the constitutional characteristics of the works in the "Shinbi Apartment" (Mysterious Apartment) series produced by Tooniverse, a domestic animation channel, and considers the meaning of the contents of the ghoststory (鬼神談). The "Shinbi Apartment" series is a horror animation for children. It was produced for the first time in Korea and recorded high ratings. Additionally, it is different from Japanese horror animations that were dubbed and broadcast in Korea in terms of composition and narrative direction, and it succeeds in the form and direction of the traditional Korean ghost story. "Shinbi Apartment - The Secret of Ghost Ball" enriches narrative stories by embracing the structure of the "female ghost story" in traditional ghost stories while following the form of ghosts that suddenly pop up in the daily routines of contemporary ghost stories. The ghost's shape, which has a bizarre and unpredictable aspect, embodies the ghost as the object of fear that modern horror stories intend. However, it does not stop there, but puts the attention on the hero who focuses on the emerging ghost and listens and communicates with it, placing the emphasis of the story on communication, understanding, forgiveness, and reconciliation. The structure and contents of the unique story of "The Secret of Ghost Ball" contribute to the transformation of the ghost into a subject of friendliness and entertainment, not merely as one of shock, fear, and anxiety. Additionally, as the concept of "child" is being created, the custom of modernity, which deals with the story of ghosts in the dimension of teaching and edification, is also manifested in "The Secret of Ghost Ball." In other words, through the figure of the devil, it is to continue the lesson of the story by revealing the adventure, the courage necessary for the "child," and the boundaries for substance and appearance. The "Shinbi Apartment" series has also contributed to the success of ghosts as commercial contents. The structure of the story and its characters have been actively used as educational tools and toys for children. It can be said that ghost culture contributed to this popularization by establishing a base for enjoying ghosts for amusement and entertainment.

• (The)Study of the Eastern Classic
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• no.37
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• pp.93-126
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• 2009

This study is about a event, which happened on January of 1603 in Hamheung. It has covered from the beginning through the conclusion of the event. The event was ignited by a naturalized citizen, Guilsang's coming to the capital city without permission from the government. With this study I've wished to find the situations of specific management of naturalized citizens as well as popular attitudes towards them at the time. Concerning with the event of Guilsang, I could find more detailed situations from "Naturalization Registration". The reason why Guilsang came to Seoul was that he wanted to ask for living together with his son-in-law's family in Yang-Ju. Before his coming, Bie-Byun-Sa had sent a official letter to the governor of Hamkyung-Do so that he had had to move somewhere between Anbyun and Yung-heung. But Guilsang had wanted to live with his whole family in Seoul. The place he visited first was Sa-Yuk-Won. He presented his petition through Yeozin language translator there. Sa-Yuk-Won then informed Ye-Jo to have him investigated. After its investigation, Ye-Jo reported to the king. There were arguments about Guilsang family in the government. Guilsang had wanted to live with his whole family, including his relatives and son-in-law. Guilsang's request had more pros than cons in terms of humanism. But letting him live in Seoul was a difficult decision for the government. but his family strenuously insisted on living in Seoul, trying to kill itself. Finally Government selected Yong-In which was a compromise between the naturalized citizens' wish and difficult position of Government. Yong-In Miejo-Hyun was a poor region where naturalized citizens had lived before but now empty after the wars. In the process of the event of Guilsang, Government differentiated naturalized citizens from general citizens and regarded them foreign. A man from Yeozin was naturalized due to economic reason. But, he couldn't accept to live somewhere except Seoul, separating from his family. Government concerned with dangers of naturalized citizen becoming into foreign agents and stabilization of borders. These concerns caused the policy of residential control and decentralization of naturalized citizens failed.

• Journal of Korean Elementary Science Education
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• v.40 no.2
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• pp.239-252
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• 2021

The purpose of this study is to develop an evolutionary STEAM education program based on the brain and to analyze its effects on scientific interest and scientific creativity of elementary school students. Four different topics based on four scientific fields (Physics, Chemistry, Biology and Earth Science) were derived from the science textbook under the 2015 revised curriculum to build a brain-based evolutionary STEAM education program. The research subjects were 90 fourth graders of S-elementary school located in Gyeonggi Province, Korea and they were divided into an experimental group of 45 students and a comparative group of 45 students. The main findings of this study are as follows. First, according to the independent samples t-test of scientific interest, no statistically significant difference were found between the two groups, but the brain-based evolutionary STEAM education had meaningful effect on improving 'interest in scientific learning' and 'anxiety about scientific learning'. Second, according to the paired samples t-test of scientific interest, the experimental group had significantly improved 'interest in science' but on the other hand, there was no effect on the comparative group. Third, scientific creativity and originality of the experimental group were significantly higher after the class than that of the comparative group. Fourth, although there were some significant differences between the two groups in scientific creativity after the class, both groups had improved scientific creativity between the results of pre and post test. Based on these results, we discuss implications for science education and STEAM education research.

• Journal of Korea Entertainment Industry Association
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• v.14 no.4
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• pp.187-198
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• 2020

With the cultural background of whiteness I did examine the universal meaning of absolute good, the special of psychosis, and the fantastic of femininity and memory/record. As an example I analyzed the symbolic meaning of white used in Korean films. Unconditional goodness, white as a generality: White color in all the films of good-evil confrontation falls into this category. The most obvious and the simplest configuration are the black-white dichotomy. In Nameless Gangster: Rules of Time(2011), The Merciless(2016), Asura: The City of Madness(2016) and The Bad Guys: Reign of Chaos(2019), white is the absolute good but it is not limited to a fair key figure. Paradoxically, black is not given only to the side of absolute evil. White is used to be a flexible visual device that reflects the socio-political situation without changing the meaning of the general good. Psychosis and pills, white as a peculiarity: The visual function that emphasizes sado-masochism in the absolute good and the universal symbol of white extends to psychotic specificities such as hysteria. In all the films creating horror, white symbolizes the mentally disabled and the pill for healing. Femininity and haunted white: White of absolute good is expressed by the socio-cultural tendency of femininity and the black-white contrast of vision is applied to the gender difference. In general the women's sexuality is emphasized in color red, but white is arranged in the background. In TaeGukGi: Brotherhood Of War(2004), 71: Into The Fire(2010), My Way(2011), The Front Line(2011), Roaring Currents(2014), Northern Limit Line(2015), The Battle: Roar to Victory(2019) and Battle of Jangsari(2019), white given to female figures sticks to the traditional femininity such as motherhood, sacrifice and weakness. The concept of specters is applied to desires, memories/records, history, fantasy, virtual/reality and social media images. The film history capturing to list memories and moments brings up the specters of socio-political genealogy. Most of films aiming for socio-political change are its examples and white constituting Mise-en-scene records to remember a historical event in Peppermint Candy(2000), The Attorney(2013) and A Taxi Driver(2017).

• Journal of the Korean Orthopaedic Association
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• v.55 no.6
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• pp.495-502
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• 2020

Purpose: The aim of this study was to assess the effectiveness of domestically developed volar locking plate which has the concept of double-tiered subchondral support (DSS) in maintaining the reduction after distal radial fracture surgery. Materials and Methods: From July 2017 to December 2018, 54 patients were assessed. Plain radiographs were obtained immediately after surgery and at the last follow-up, and the radiographic parameters were measured in those images: radial length, radial inclination, volar tilt, ulnar variance, and distal dorsal cortical distance. The patients were subdivided into their age, type of fracture, and the position of the plate to evaluate the influence of each factors on the reduction maintenance. Results: Distal dorsal cortical distance in radiographs after the surgery was 5.91 mm (standard deviation, ±1.95 mm) on average. Significant differences in the radial length (p=0.038) and ulnar variance (p=0.001) were observed between immediately after surgery and at the last follow-up. When the parameters were evaluated by dividing the patients into subgroups according to the three specific factors, the ulnar variance showed a significant increase at the last follow-up when the patients were included 65-years-old or older. AO/OTA type C3 fracture, and Soong classification grade 0 plate position (p=0.007, p=0.012, p=0.046, respectively). Conclusion: Using the domestically developed DSS-type volar locking plate, significant reduction after distal radial fracture surgery could be maintained successfully. On the other hand, further study will be needed to determine about the reduction loss of the lunate facet identified in special cases that deal with fractures in elderly patients, unstable AO/OTA type C3 distal radial fractures, and Soong classification grade 0 plate position.

• Journal of Korea Port Economic Association
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• v.37 no.4
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• pp.161-173
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• 2021

The shipping industry plummeted and was depressed due to the global economic crisis caused by the bankruptcy of Lehman Brothers in the US in 2008. In 2020, the shipping market also suffered from a collapse in the unstable global economic situation due to the COVID-19 pandemic, but unexpectedly, it changed to an upward trend from the end of 2020, and in 2021, it exceeded the market of the boom period of 2008. According to the Clarksons report published in May 2021, the decrease in cargo volume due to the COVID-19 pandemic in 2020 has returned to the pre-corona level by the end of 2020, and the tramper bulk carrier capacity of 103~104% of the Panamax has been in the ports due to congestion. Earnings across the bulker segments have risen to ten-year highs in recent months. In this study, as factors affecting BDI, the capacity and congestion ratio of Cape and Panamax ships on the supply side, iron ore and coal seaborne tonnge on the demand side and Granger causality test, IRF(Impulse Response Function) and FEVD(Forecast Error Variance Decomposition) were performed using VAR model to analyze the impact on BDI by congestion caused by strengthen quarantine at the port due to the COVID-19 pandemic and the loading and discharging operation delay due to the infection of the stevedore, etc and to predict the shipping market after the pandemic. As a result of the Granger causality test of variables and BDI using time series data from January 2016 to July 2021, causality was found in the Fleet and Congestion variables, and as a result of the Impulse Response Function, Congestion variable was found to have significant at both upper and lower limit of the confidence interval. As a result of the Forecast Error Variance Decomposition, Congestion variable showed an explanatory power upto 25% for the change in BDI. If the congestion in ports decreases after With Corona, it is expected that there is down-risk in the shipping market. The COVID-19 pandemic occurred not from economic factors but from an ecological factor by the pandemic is different from the past economic crisis. It is necessary to analyze from a different point of view than the past economic crisis. This study has meaningful to analyze the causality and explanatory power of Congestion factor by pandemic.