• (The)Study of the Eastern Classic
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• no.33
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• pp.231-252
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• 2008

This study is to investigate on focus of his political position change to build up his the real form about Park je sang(朴堤上) who had taken an active part within Shila nulgi king(訥祗王) period on base of previous park je sang' study results. that is, this study took attention about excellent capability by diplomat who had shown his diplomatic ability in complicated and international fields of three countries, and about process of entrance on central political fields by private capability in sap lang(?良) district in relation with building up the real form of park je sang. As result, by means of few investigations about park je sang who had taken an active part, we looked into process how local power man in sap lang(?良) district had built up his position to jin-gol(眞骨) status with strategic location of sap lang(?良) district on shila history within Shila nulgi king period. I think that we found valuable means from figures of a district society in process how Shila had grown with a country of centralizing power.

• The Journal of the Korea Contents Association
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• v.22 no.6
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• pp.400-412
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• 2022

The Accommodational missionary method adopted by the Jesuit missionaries who came to China in the late Ming and early Qing dynasty is called the Accommodation and Naturalization and is based on the Poetry. The terms they borrowed were 'Di(Emperor Above)' and 'Tian(The heaven)', the key terms of Confucianism. Although 'Di' was a new transcendent concept, its status was downgraded in the political upheaval, and 'Tian' was rather elevated. However, both of these concepts gradually transformed into philosophical concepts that directly affect real life. The two terms borrowed to express the priesthood could not contain the uniqueness of Christianity, and Christianity was interpreted as an extension line of Confucianism thinking, reduced to an adjunct of Confucianism, and was not indigenous to the depth of ideology. A rational philosophical inquiry could not have played a full role in guiding the Chinese into the true Christian 'faith' unless it is paired with the great teachings of revelation. It is necessary to analyze these results soberly to find problems and to try various studies to explore ways to open up new horizon for Christian missionary work.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.315-347
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• 2019

(1986) and (1987) represent the society of 1980s in which the professional baseball game was initiated to cover the irrational military culture. The love and marriage of sports players were the headlines of the media, and the yearly salary of the players was the hottest issue of conversation. The military culture is represented in the scenes where the coaches train the failures and inapt players in extreme drills. The films pinpoint the absurdity of military culture and win-at-all-costs mentality. The collapse of the dictatorial leadership at the end of the films is a metaphor for the collapse of the fifth Republic of Korea. The episodes where the players talk about contract money, and the trade of players and sports business were a new phenomenon of the 1980's. The fact that Oh Hyesung of chooses love instead of victory deals a big blow to the secular ambition for money, victory and dictatorial leadership. His option provides catharsis for an audience oppressed under military leadership and success driven ideology. On the other hand, Oh Hyesung of dies right at the moment of winning the world champion. He achieves neither love nor success. While Oh Hyesung of is a symbol of pure love and gives spiritual comfort to the audience, Oh Hyesung of gives a sense of hopelessness to the audience. Both of the two sports films reflect the representation of the 1980's but received opposing reviews from audiences.

• Sim-seong Yeon-gu
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• v.36 no.1
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• pp.1-54
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• 2021

Princess Bari, the seventh daughter of the King and Queen, is abandoned at birth. She one day embarks on a solitary journey into the underworld to seek the antidote she needs to save her ailing father. The shamanic myth then depicts terrible ordeals, after which the Princess manages to obtain the elixir of life to bring her parents back to life, leading to her deification as the Queen of all shamans. The life of Princess Bari as the ancestor of shamans incorporates the necessary rite of passage to become a shaman, persevering through all manner of trials and tribulations until death and then being reborn. Princess Bari's story of deification as the goddess of shamans constitutes the archetype or the primitive image of the collective unconscious, the mytheme. From the perspective of analytical psychology, Princess Bari, who became the Queen of shamans after undergoing a process of pain, death, and then rebirth demonstrates a facet of the individuation process, evident in heroic mythology. Princess Bari not only cured her parents of disease but also brought them back to life. What enabled her to obtain the elixir to resurrect her parents was her love and compassion for them based on self-sacrifice, enduring all the trivial and repetitive undertakings of everyday life. She viewed the world and behaved from the perspective of a broader Self. Making herself a powerful healer through the ordeals in the underworld, Princess Bari is the psychopomp as well as the healer archetype. The sacred power of healing that goes beyond the Princess' sufferings represents the Self Archetype inherent in the mentality of the Koreans, in other words, a symbolic power that indicates the divine representation of a healer.

• Tuberculosis and Respiratory Diseases
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• v.40 no.5
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• pp.584-594
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• 1993

Background: Among the respiratory diseases, there are a lot of cases of pleural effusion. The most common cause is tuberculosis. But the other cause such as lung malignancy is in an increasing tendency because of the development of diagnostic procedure, the decrease of the prevalence of the tuberculosis and the increase of the longevity. We need to know the accurate diagnosis as soon as possible for the correct therapy. Method: A clinical observation was made on 315 cases of pleural effusion seen at Pusan Adventist Hospital, from Jan, 1989 to Dec, 1992. For diagnostic procedure, thoracentesis, lymph node biopsy, bronchoscopy and percutaneous biopsy of the parietal pleura with Cope needle were performed. The following are parameters used in seperating the exudate from the transudate: pleural protein 3.0 g/dl, pleural protein/serum protein ratio 0.5, pleural LDH 200 IU, pleural LDH/serum LDH ratio 0.6, pleural cholesterol 60 mg/dl and pleural cholesterol/serum cholesterol ratio 0.3. Each parameters were compared, and misclassified rate and diagnostic efficiency were calculated. Results: The most common cause of exudate pleurisy was tuberculosis (82.3%) and malignancy was next (12.2%). The chief complaints of pleural effusion were noted as dyspnea (58.7%), chest pain (54.9%), coughing (50.2%) and fever (36.2%). Location of pleural effusion was noted as right side (51.4%), left side (41.3%) and both sides (7.3%). Amount of pleural effusion of the chest X-ray was minimum (46.8%), moderate (40.5%) and maximum (12.7%). Misclassified rates for each parameters in seperating the exudates from the transudates were as follows; protein: 5.2%, pleural protein/serum protein:7.6%, LDH: 13.9%, pleural LDH/serum LDH: 6.9%, cholesterol: 8.0%, pleural cholesterol/serum cholesterol: 5.6%. On the pleural biopsy, the tuberculosis granuloma was 60.8%, malignancy was 13.6%, infection was 2.3% and nonspecific inflammatory reaction was 23.3%. Conclusion: on the basis of the above results, the most common cause of exudative pleurisy was tuberculosis. We think that the plerual cholesterol/serum cholesterol ratio is the most useful supportive parameter in separating the exudates from the transudates. For accurate diagnosis, the pleural biopsy is the first procedure and repeated pleural biopsy of nonspedcific inflammatory reaction is required.

• Journal of the Korean Institute of Landscape Architecture
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• v.39 no.3
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• pp.26-38
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• 2011

The purpose of this study was to analyze the commemoration culture of Vietnam War Memorials (VWM) in Vietnam. Through site survey, the researcher selected 23 VWM in Vietnam and analyzed 5 categories: memorial type, design concept and narratives, location and spatial form, landscape elements, and content expressed in landscape details. The results are as follows: 1. Because of the long, drawn out Vietnam War, which lasted from 1955 to 1975, VWM were divided into 10 types mainly as soldier cemeteries based on a traditional memorial style, battlefields and places of tragedies considering sense of place, war museums representing victory and atrocity in war, and peace parks promoting reconciliation and peacemaking. 2. The analysis revealed that the main concepts and narratives of VWM were to value the victims of the Vietnam War, remember soldiers' contributions, highlight the victory in war and resistance to the United States, and express a sense of place. Peacemaking applied only to My Lai Peace Park and Han-Viet Hoa Binh Cong Vien, built by international cooperation. 3. Cemeteries and appreciation memorials were designed to follow a traditional memorial space form that highly regard both axis and symmetry. The design concept at battlefields and places where tragedies occurred depended mainly upon a sense of place and used symbolic landscape elements to compensate for the undefined concept. 4. Sculptures and towers were mainly used to highlight war victory and resistance as the representative style of a Socialist country, weapons and pictures exhibited in war museums and battlefield showed the reality and strain of war. Symbolic elements of Buddhism and Confucianism were often introduced as a way to venerate the memory of deceased persons. 5. The state and heroic actions in the Vietnam War were realistically depicted on sculptures and walls. Also, the symbolic phrase, 'TO-QUOC-GUI-CONG' meaning 'our country remember your achievement', were written on the memorial tower and 'Quagmiire' was used to metaphorically represent the difficulties faced by the U.S. military on battlefields during the war and the uncertainly that pervaded U.S. society in those days. 6. In VWM, ideologies like nationalism, patriotism, socialism, capitalism were mixed and traditional cultures like Buddhism, Confucianism, Taoism were inherent. Differing from their Confucianism culture, war heroes, particularly including women, were often described by sculpture, monument, and pictures and the conflict in and outside the country regarding the Vietnam War was shown. Further study will be required to analyze design characteristics of VWM in the u.s. and to understand the difference in commemoration cultures between Vietnam and the U.S.

• (The) Research of the performance art and culture
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• no.34
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• pp.111-131
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• 2017

Korean Shamanism has long been regarded as the peripheral cult or supersition by the majoriy of the society. This fact is a result by the influence of the mass media, especially the motion pictures, which intentionally reflected the negative images of the Shamanism. The documentary films, which stress the objectivity and the reality, rather disclose the neutral position toward the Shamanism. In fact, the directors of the documentary films who have more or less close relationship with the Shamanism have tried to exhibit the mental world and the traditionality of the Shamanism. In this paper, I will explore the value of Shamanism reflected in the documentary films. I focus of two films; directed by the Korean and directed by a foreigner. In this way, I can compare the attitudes of the two directors toward the Korean Shamanism. The director of confessed that he was attracted by the aspect of a musical underlied in the shaman ritual. However, the film does not show the artistic beauty of the shaman music because the director failed to understand the essential aspect of the shaman ritual, that is, the music. In this way, the director failed to show the distinct characteristics of the shamanism to the audience. The director of , a music herself, was focused on the music of the shamanism. The story flows to the adventure to seek a "master" with a long journey to enjoy diverse genres of Korean performing arts. This story resembles the epic shaman song, the Princess Bari. In this way, the audience can easily grasp the beauty of Korean culture. Music is said to be a universal language and, at the same time, a non-universal language which reflects a special trait of a cultural community. The Korean shaman ritual music is a non-universal language that is an accumulation of the Korean culture for a long time. The Korean director fails to exhibit the essential characteristics of the Shamanism since he does not have enough knowledge toward the shaman ritual music in . However, the foreign director, who is a music herself, successively disclose the underlying beauty of Korean shaman ritual music and Korean traditional culture in .

• Journal of the Korean Institute of Landscape Architecture
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• v.43 no.1
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• pp.1-15
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• 2015

The purpose of this study was to analyze the commemoration characteristics of Vietnam War Memorials(VWM) in the United States(VWMUS). Through site survey and internet research, the researcher selected 87 VWMUS except monuments simply with markers, and analyzed 5 analysis items: design concepts, spatial characteristics, landscape details, sculptures, and interpretive texts and symbols. The results are as follows: 1. The analysis revealed that the main concepts of VWMUS were to cherish victims of the Vietnam War(85 sites (97.7%)), show veteran's dedication for country(85 sites(97.7%)), and publicize the contribution of groups by troop, regional, and membership(84 sites(96.6%)). 2. Most VWMUS were located in memorial parks and plazas. 59 memorials(67.8%) were designed to pursue the completion of each memorial assuming the form of symmetry and circles. On the other hand, 12 memorials(13.8%) were typed memorial walls and 11 memorials(12.6%) were formed by spatial sequence including various landscape details and grading. 3. Stone walls were mainly used to cherish victims of the War at 65 memorials(74.7%), and also, Flags like the Stars and Stripes, POW MIA flags, and state flags were hoisted to symbolize memorial's identity at all memorials. Additionally, Benches, monuments, markers, posts and columns, ponds and channels, Helicopters were partially introduced some memorials. 4. Sculptures were used 21 memorials(24.1%) which were smaller in numbers than other War Memorial in the U.S.A., for black stonewall were used for the main element of VWMUS. Except for a few sculptures that aimed to represent the Vietnam War symbolically and narratively, 16 memorials(18.4%) were formed to realistically express the image of wounded soldiers and their hardship in the Vietnam War. 5. KIA, MIA, Veteran's name were written and their images depicted on walls, Also, the symbolic phrase, 'ALL GAVE SOME, SOME GAVE ALL' and 'DUTY, HONOR, COUNTRY' were written on the memorials walls, and the POW MIA symbols were printed on the flags and engraved on walls. 6. In the United States of America, Democratic patriotism was considered a main ideological value in VWMUS by engraving KIA MIA's names on the walls, hoisting flags Stars and Stripes and POW MIA, and writing symbolic phrases 'ALL GAVE SOME, SOME GAVE ALL' and 'DUTY, HONOR, COUNTRY'. On the contrary, in Vietnam, nationalism, patriotism, and socialism were emphasized as main ideologies through raising war victory and resistance to foreign power as well as writing the symbolic phrase 'TO-QUOC-GUI-CONG' meaning 'our country remember your achievement' on memorial towers. Further study will be required to comparatively analyze VWM in order to understand national characteristics in Korea, Australia, U.S.A, and Vietnam.

• 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).

• Korean journal of applied entomology
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• v.53 no.4
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• pp.427-433
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• 2014

To investigate the biological control of Aulacorthum solani, a comparative analysis was carried out using an indigenous natural enemy, Ephedrus plagiator, and an exotic parasitoid, Aphidius ervi. Lifespan, spawning periods, number of mummies, number of offspring, and developmental periods of the two parasitoids on Aulacorthum solani and Acyrthosiphon pisum were studied at 15, 20, 25, and $30^{\circ}C$ with a photoperiod 16 h (L): 8 h (D). The lifespan of E. plagiator (5.3 days) was relatively higher than that of A. ervi (2.3 days) when these parasitoids were reared on A. solani at $15^{\circ}C$. Similarly, the spawning period of E. plagiator (5.3 days) was longer than that of A. ervi (2.2 days). When the two aphid parasitoids were provisioned with A. solani, the numbers of E. plagiator mummies at 15, 20, 25, and $30^{\circ}C$ were 71.5, 41, 15.7, and 7.7, respectively, whereas at the same temperatures, the numbers of A. ervi mummies were 22.1 16.3, 6.2, and 0.4, respectively. In contrast, when provision with A. pisum, the numbers of E. plagiator mummies at 15, 20, 25, and $30^{\circ}C$ were 70.3, 69.8, 34.3, and 8.4, whereas the numbers of A. ervi mummies were 93.4, 71.2, 34.8, and 14.5, respectively. The numbers of E. plagiator offspring emerging at 15, 20, 25, and $30^{\circ}C$ were 42.1, 36, 11.6, and 0, whereas the numbers of A. ervi offspring emerging were relatively lower at 19.6, 13.5, 3.7, and 0.1, respectively. By comparing these results, it can be concluded that E. plagiator is a more efficient parasitoid of A. solani, whereas A. ervi is more efficient on A. pisum.